View source for Staff Positions and Responsibilities

==Board Liaison== 

A Board Liaison will be appointed for each show, to facilitate communication between the BOD and the various show staff, and to provide guidance, information and support. 

Apart from this rather open-ended job description--certain production teams may need more support than others--the Board Liaison is responsible for two specific documents:

*'''Production Manual Review''': This document must be signed by the Producer, Director and Stage Manager of each production team, indicating that they've all read the Production Manual. This form must be signed and returned before an audition notice is released.
*'''Strike Checklist''': The Board Liaison must be on site during strike, and is responsible for signing off that every item on the Strike Checklist is completed. The cast, crew and staff should not be released for the Strike Party until everything is finished.

These forms should be returned to the Vice President, who will keep them on file. These forms are available on {{Dropbox}}.

In addition to attending strike, the Board Liaison shall attend the Meet and Greet to welcome the cast to Footlite. They will conduct a safety tour of the facility, including the location of all exits and fire extinguishers, discuss the Code of Conduct, and cover some Footlite policies and expectations that may be unknown to people new to our theatre.

The Board Liaison has the final authority on all disagreements between Director and Producer and has the full backing of the Board of Directors.

==Producer==

Responsible for all budgetary responsibilities for a production. The Producer oversees all aspects of production, ensuring that all parties are clearly communicating with each other. Arranges purchase orders and other purchases for production related expenses, and monitors expenses, ensuring that all production personnel are operating within their production budget. The Producer ensures that all aspects of productions are moving forward, resulting in a quality final product.

The Producer shall report on the progress of the production to the BOD at their regularly scheduled meetings, from pre-production through post-production. He/she should outline all progress and problems that might impair the timely preparation or quality of the show, requesting needed assistance.

The [[Production Responsibilities]] portion of this document is the detailed description of the Producer's responsibilities.

Assistant Producer positions may be available with some experienced Producers.

==Director==

Responsible for the oversight of a particular production—overall practical and creative interpretation of a script and score, taking into account the budgetary and physical restraints of the theater and of the production.

The [[Production Responsibilities]] portion of this document details the BOD's various expectations for your production, to be completed in cooperation with the Producer.

It is beneficial to have an Assistant Director as a second set of eyes and ears, to offer constructive suggestions regarding elements of the production, and to run certain rehearsals or components of rehearsals.

;Desired Qualities/Skills

When a director new to Footlite (having neither directed or assistant directed at our theatre before) proposes a show, there are the following expectations:

*The proposed staff must include at least one producer who has produced or directed a show at Footlite.
*A mandatory meeting with you, your staff, and the Show Selection Committee will be scheduled.
*A seasoned, experienced staff increases the chances the committee will choose your proposal. We encourage using Footlite regulars. You should provide brief biographical information on any staff new to Footlite.
*The committee is specifically looking to see that your Lighting Designer, Technical Director and Stage Manager have experience at Footlite or a venue of comparable size.

===Assistant Director===

Duties will vary greatly from one production to the next and from Director to Director. Often, an Assistant Director is assigned some of the duties normally assigned to the stage Manager. At times, an assistant may work directly with the Director as a second set of eyes and ears and will be asked to offer constructive suggestions regarding elements of the production. An AD may also be asked to run certain rehearsals or components of rehearsals. It will be the responsibility of the Director to communicate these duties to the Assistant Director.

;Duties Include

*Assists the Director as needed.
*Sits in on all rehearsals taking notes and actively watching the process.
*May be in charge of rehearsals in the absence of the Director; may also be put in charge of some aspects of the rehearsal process.

;Desired Qualities/Skills

*Previous acting experience required
*A well-rounded knowledge of the production process is required
*Ability to identify production priorities and expectations

;Time Commitment

*20-30 hours Pre-production (personal preparation in addition to discussions and meetings with creative and production staffs)
*Approximately 24 hours per week during 10-15 week rehearsal period.
*Hours increase with tech week
*Hours increase more during final production week

==Music Director/Conductor==

Responsible for oversight of the music for a particular production. The Music Director works closely with the Director, Vocal Director (if this is a different person), and Conductor (if someone other than the Music Director conducts) to interpret the score.

The Music Director is typically also the Conductor, and sometimes also the Vocal Director.

;Duties Include

*Rehearses the orchestra
*If acting as Vocal Director, also rehearses with the actors to help them learn the music in the show.
*Recruits, rehearses and conducts the orchestra.
*Guides the musicians and vocalists in learning and interpreting their parts.
*Oversees the details of the show’s musical design.
*Works to produce music that fulfills the vision of all involved.

;Desired Qualities/Skills

*Previous Music Education experience required.
*Previous Conducting experience preferred.
*Previous musical theatre experience preferred

;Time Commitment

*30-40 hours pre-production (personal preparation in addition to discussions and meetings with creative and production staff).
*Approximately 4-12 hours per week during 10-15 week rehearsal period.
*Hours increase with tech week.

==Vocal Director==

Responsible for the oversight of the vocal music for a particular production. The Vocal Director works closely with the Director and Music Director to interpret the vocal music within the written score.

;Duties Include

*Rehearses with the actors to help them learn the vocal music in the show.
*Guides the vocalists in learning and interpreting their parts.
*Oversees the details of the show’s musical design.
*Works to produce music that fills the vision of all involved.

;Desired Qualities/Skills

*Previous Music Education experience required.
*Previous acting experience preferred.

;Time Commitment

*30-40 hours pre-production.
*Approximately 4-6 hours per week during 10-15 week rehearsal period.
*May be called in to perfect vocals during technical and production weeks.

==Choreographer==

Responsible for designing and directing the dance and other planned movement in a particular production, working closely with the Director and Music Director. Works with dancers to interpret and develop their characters.

;Duties Include

*Attending production meetings
*Designing and staging dance numbers
*Teaching the numbers to performers
*Rehearsing with the actors to help them learn and perfect their dances
*Working to produce numbers that fulfill the vision of all involved.

;Desired Qualities/Skills

*Previous theatrical dance experience required
*Previous dance education experience preferred
*Previous acting experience preferred

;Time Commitment

*30-40 hours pre-production (personal preparation in addition to discussions and meetings with creative and production staffs)
*Approximately 6-12 hours per week during 10-15 week rehearsal period.
*May be called in to perfect dance numbers and give notes during technical and production weeks.

==Costume Designer==

The Costume Designer, in cooperation with the Director, is responsible for the design and implementation of costuming elements of a production, including designing, building and/or acquisition of all costumes in a timely manner and within budgetary limits.

;Duties Include

*'''Design'''
**Read script and note all costumes needed for each scene
**Work with director on design and style needs for show
**Work with producer on a budget for costumes, including rentals and cleaning
**Develop a character-scene breakdown, noting who is in each scene
**Develop complete list of costume needs for each cast member
**Attend pre-production and production meetings with the staff
*'''Construction'''
**Assemble costume crew
**Work with crew to take measurements of cast members
**Arrange rental/loan of costumes from other sources and payment
**Purchase supplies for building of costume pieces
**Collect receipts for reimbursement and turn them in to the producer
**Distribute supplies to crew for construction of pieces
**Supervise alterations of costumes
**Supervise gathering of accessory pieces 
*'''Run'''
**Develop and supply a costume plot for each cast member
**Supervise distribution of costumes to cast
**Supervise care of costumes
**Make repairs as needed 
**Clean pieces as needed
**Work with the Stage Manager to arrange for dressers as needed 
**Conduct a “costume parade” for approval by director (as needed)
*'''Strike and Post-Production'''
**Maintain a list of all costume pieces in use
**Supervise return of all costumes from cast
**Sort pieces returned
**Launder all washables and re-stock (see above)
**Dry clean items as necessary and re-stock (see above)
**Supervise cleaning of dressing rooms, including floors, counters, mirrors, sinks, trash
**Put away all costumes
**Return all rented/borrowed pieces
**Supervise cleaning of the Green Room, including floors, counters, trash
**Return all theatre keys to the producer

;Desired Qualities/Skills

*Previous costuming experience required.
*Ability to identify production priorities and expectations.

;Time Commitment

*60-70 hours pre-production (personal preparation in addition to discussions and meetings with creative and production staffs).
*Hours increase prior to tech week

Please see the [[Production Responsibilities#Costuming|Costuming]] section of Production Responsibilities for more details.

===Costume Assistant===

Costuming crews are responsible for the construction, alteration and implementation of all costuming elements of a production in a timely manner and as directed by the Costume Designer.

;Duties Include

*Build, sew, alter and procure costumes and other pieces under the direction of the costume designer.
*Maintain, repair, and clean costumes, as needed.
*Return or restore costumes after a show closes.

;Desired Qualities/Skills

*Previous theatre experience is not required.
*Some knowledge of sewing is preferred, but not required.

;Training Available:

*On-the-job training is available.

;Time Commitment

*Can be flexible, but will need to set a schedule with the Costume Designer.
*Depending upon the designer, may be able to work on pieces at home.
*Longer hours may be needed closer to final production week
*Will likely not be expected to work during the production run.

==Technical Director==

The Technical Director, in cooperation with the Director, oversees the technical aspects of a production and ensures that all designs are built to the designers’ specifications. The Technical Director is responsible for the construction and continued functioning of all platform wagons, flown material and special effects. Works directly with the Set Designer, Set Decorator, Lighting and Sound Designers, and the Stage Manager to ensure a smooth technical performance.

;Duties Include

*Attends production meetings.
*Must be available during performances in case of emergency.
*Coordinates builds and strike.
*Maintains all tools and equipment used in set construction.
*Is responsible for the safety of the build crew.

;Desired Qualities/Skills

*Previous technical theatre experience required.
*Highly organized.
*Understand the balance between being in charge and maintaining a cohesive working environment.
*Ability to identify production priorities and expectations.

;Time Commitment

*30-40 hours pre-production.
*Approximately 30 hours per week during the final weeks of rehearsal, after the previous show has been struck.
*Must be available “on call” during performances in case of emergency.

==Stage Manager==

Duties will vary greatly from one production to the next and from Director to Director. The Stage Manager is responsible for the efficient running of rehearsals and performances. The Stage Manager is responsible for keeping the master script, including the Director’s blocking, notes, and technical cues. The Stage Manager is responsible for running and calling the show and coordinating and supervising the production run crew.

If an Assistant Stage Manager is utilized, he/she will be assigned some of the duties normally assigned to the Stage Manager. It will be the responsibility of the Stage Manager to communicate these special assignments to the assistant.

;Some Duties Include

*Attends production meetings.
*Assists at auditions.
*Maintains and distributes production rehearsal/performance schedules. Keeps track of scheduled conflicts, attendance and tardiness, contacts missing cast and crew members.
*Maintains the production’s contact sheet.
*Runs rehearsals and performances.
*Prompts actors, corrects mistakes, takes and distributes line notes.
*Responsible for opening and closing rehearsal/performance space before and after rehearsals/performances.
*Collaborates with the Director and all designers to prepare the prompt book for all sound, fly, actor, costume and scene shift cues.
*The Stage Manager is responsible for communication among all production staff, cast, and crew.

;Desired Qualities/Skills

*Previous theatre experience required.
*Highly organized.
*Understand the balance between being in charge and maintaining a cohesive working environment.
*Ability to identify production priorities and expectations.

;Training Available

*Assistant Stage Manager positions may be available.

;Time Commitment

*30-40 hours pre-production (personal preparation in addition to discussions and meetings with creative and production staffs).
*Approximately 20-30 hours per week during the 10-15 weeks of the rehearsal period.
*Hours increase with tech week, the final production week.
*The Stage Manager runs all performances, normally arriving 30 minutes to an hour before call and staying until the last person has left.

===Assistant Stage Manager===

Duties will vary greatly from one production to the next and from Stage Manager to Stage Manager. The Assistant Stage Manager is responsible for assisting the Stage Manager in the efficient running of rehearsals and performances. The ASM may be assigned some of the duties normally assigned to the Stage Manager. It will be the responsibility of the Stage Manager to communicate these special assignments to the ASM.

;Some Duties Include

*Assists at auditions
*Assists the Stage Manger as needed
*Acts as Deck Captain during production
*Responsible for the efficient running of backstage area during final rehearsals and performance

;Desired Qualities/Skills

*Some previous theatre experience required
*Highly organized

;Time Commitment

*Approximately 30 hours per week during 10-15 week rehearsal period
*Hours increase with tech week
*Hours increase more during final production week.
*Will be expected to work all performances during a run.

===Run Crew===

Responsible for implementing scene changes and other technical aspects of a particular production during final rehearsals and performances.

;Duties Include

*Performs pre-show prep, as directed by the Stage Manager.
*Works to ensure scene changes are implemented according to design.
*May move furniture, set pieces, set dressing or props.
*May assist with costume changes, special effects, lighting or sound requirements, as instructed by the Stage Manager.
*May be assigned to run the fly rail.
*Performs post-show clean up, as directed by the Stage Manager.

;Desired Qualities/Skills

*A basic knowledge of theatre procedures preferred, but no previous experience required.

;Training Available

*Stage Manager or Deck Captain will be available to train crew members.

;Time Commitment

*Approximately 15-30 hours during the final production week.
*Will be expected to work all performances of the production run.

==Lighting Designer==

The Lighting Designer, in cooperation with the Director, is responsible for the planning and implementation of a production’s lighting design including all design, cueing, and paperwork. The Lighting Designer is ultimately responsible for the hanging, focusing, and upkeep of the lighting design. The Lighting Designer, Technical, Director and/or Stage Manager will also be responsible for supervision and/or training of a production’s light board operator and spotlight operators.

;Duties Include

*Reads and studies the musical, researches technical elements of the show’s time period, location and style.
*Attends production meetings and discusses his/her interpretation with the show’s Director and Producer.
*Works closely with the Set Designer, Costume Designer, and Properties Designer to create a cohesive and consistent style.
*Oversees the details of the show’s lighting design.
*Manages the hanging, focusing, and maintenance of lighting elements and the light board.
*Provides light cues to the Stage Manager.
*Works closely with the creative and production teams to create a performance which connects with the audience.

;Desired Qualities/Skills

*Previous technical theatre experience required.
*Lighting experience required.
*Ability to identify production priorities and expectations.

;Time Commitment

*60-70 hours pre-production (personal preparation in addition to discussions and meetings with creative and production staffs)
*Hours increase prior to tech week.

===Light Board Technician===

Responsible for implementing the Lighting Design and maintaining lighting equipment for the show.

;Duties Include

*Runs the light board during final rehearsals and performances.
*Maintains lighting equipment.
*May be needed to assist with hanging and focusing lights.
*May be needed to assist the Lighting Designer in setting light cues.

;Desired Qualities/Skills

*Previous technical theatre experience preferred but not required.

;Training Available

*Lighting Designer, Technical Director or Stage Manager may be available to train light board technicians.

;Time Commitment

*Approximately 15-30 hours during final production week.
*Will be expected to work all performances of the production run.

===Spotlight Technician===

Responsible for implementing the Lighting Design, as it refers to spotlights.

;Duties Include

*Runs a spotlight during final rehearsals and performances.

;Desired Qualities/Skills

*Previous technical theatre experience preferred, but not required.

;Training Available

*Lighting Designer or Stage Manager may be available to train spotlight technicians.

;Time Commitment

*Approximately 15-30 hours during final production week.
*Will be expected to work all performances of the production run.

==Makeup/Hair Designer==

The Makeup/Hair Designer, in cooperation with the Director, is responsible for the design and implementation of the hair and makeup costuming elements of a production.

;Duties Include

*Reads and studies the musical, researches hairstyle and makeup fashion of the time period, location and style.
*Attends production meetings and discusses his/her interpretation with the show’s Director and Producer.
*Works closely with the Costume Designer, Set Designer, Set Decorator, Lighting Designer, and Properties Designer to create a cohesive and consistent style.
*Trains and/or assists performers with makeup application and hairstyle as necessary, or supervises a hair/makeup crew.
*Responsible for acquiring adequate supplies and keeping track of inventory.
*Works closely with the creative and production teams to create a performance which connects with the audience.

;Desired Qualities/Skills

*Previous hairstyling and/or makeup experience required.
*Theatrical experience preferred.
*Ability to identify production priorities and expectations.

;Time Commitment

*10-20 hours pre-production (personal preparation in addition to discussions and meetings with creative and production staffs).
*Hours increase prior to tech week.
*Will be expected to work at all performances of a production run.

==Properties Designer==

The Props Designer, in cooperation with the Director, is responsible for the design, building, procurement, maintenance and safe return of all props for a particular production.

;Duties Include

*Provides all needed properties by the long tech rehearsal or before.
*Reads and studies the show, researches the time period, location and style.
*Attends production meetings and discusses his/her interpretation with the Director.
*Works closely with the Set Designer, Set Decorator, Lighting Designer, and Costume Designer to create a cohesive and consistent style.
*Manages a detailed props list, including information regarding whether the item will be pulled from stock, built, borrowed, rented or bought, the estimated cost, the source, the date of obtaining, and any alterations of borrowed props (if allowed).
*Oversees the backstage placement of props during the run of the production.
*Works with the cast on the use and handling of props, as needed.
*Maintains safety with props (especially guns, swords, fire, etc.).
*Responsible for purchase and preparation of all stage food.
*Is responsible for the cleanliness and organization of the prop room and other areas of prop storage.
*The Props Designer may also be responsible for Set Decoration.
*In those instances, the duties will include items of set dressing, furniture, window dressing, and other set pieces.
*Collaborates with Set Designer in placing pictures, décor, and other dressing.

;Desired Qualities/Skills

*Previous technical theatre and/or props experience required.

;Training Available

*Assistant Props positions may be available with some experienced props designers.

;Time Commitment

*60-70 hours pre-production.
*Approximately 24 hours per week during 10-15 week rehearsal period.
*Hours increase with tech week.
*Unless a separate props run crew is used, the Props Designer will attend all rehearsals during tech week, as well as all performances during the production run.

==Set Designer==

The Set Designer is responsible, in cooperation with the Director, for the design of all scenic elements of a production in a timely manner and within budgetary limits.

;Duties Include

*Reads and studies the musical, researching the architecture, furniture, décor, etc. of the time period, location, and style.
*Attends production meetings and discusses his/her interpretation with the show’s Director and Producer.
*Works closely with the Lighting Designer, Set Decorator, Costume Designer, and Properties Designer to create a cohesive and consistent style.
*Oversees the details of the show’s scenic design and construction.

;Desired Qualities/Skills:

*Previous technical theatre experience required.
*Ability to identify production priorities and expectations.

;Time Commitment

*Varies depending on the production.

===Set Decorator===

The Set Decorator’s duties may be the responsibility of the Set Designer or the Props Designer. If it is decided that a separate person or crew is needed for this task, he/she will be responsible for the procurement of all set decoration elements for a production in a timely manner and as directed by the Director and/or Set Designer. A Scenic Artist may paint all set pieces, scenery, and drops, as directed by the Set Designer.

;Duties Include

*Oversees the details of the show’s set decoration and procurement.
*Reads and studies the musical, researches architecture, furniture, décor, etc., of the time period, location, and style.
*Attends production meetings and discusses his/her interpretation with the show’s Director, Producer, and Set Designer.
*Discusses in detail with the Set Designer what each item of set dressing, furniture, and window dressing should be.
*Collaborates with the Set Designer in placing pictures and other pieces.
*Maintains/repairs decorator pieces, as needed.

;Desired Qualities/Skills

*Previous technical theatre and/or interior design experience preferred.
*Ability to identify production priorities and expectations.

;Training Available

*Assistant to an experienced designer positions may be available.

;Time Commitment

*20-40 hours pre-production.
*Hours increase prior to tech week.

==Sound Designer==

The Sound Designer, in cooperation with the Director, is responsible for the sound design, implementation and maintenance of all sound equipment necessary for a production.

Duties Include:

*Reads and studies the play, discusses sound design with the Director.
*Gathers all sound effects and/or non-orchestra music necessary for the production.
*Creates CD or music files to be used in the production.
*Determines the necessity of vocal and musical reinforcement.
*Creates sound cue plot for Stage Manager used by the Sound Board Operator.
*Insure the safe and efficient cabling and installation of all speakers, headsets, boards, monitors, and other equipment.
*Trains and supervises (along with the Stage Manager) the Sound Board Operator.
*Attends production meetings and discusses his/her interpretation with the show’s Director and Producer.
*Works closely with the other designers to create a cohesive and consistent style.

;Desire Qualities/Skills

*Previous technical theatre experience required.
*Sound experience required.
*Ability to identify production priorities and expectations.

;Time Commitment

*60-70 hours pre-production.
*Hours increase during tech week.

===Sound Board Technician===

Responsible for implementing the Sound Design and maintaining all sound equipment during the run of the show.

;Duties Include

*Performs sound checks before each performance.
*Runs the sound board during final rehearsals and all performances.
*Maintains the sound equipment (sound board, microphones, batteries, etc.).

;Desired Qualities/Skills

*Previous technical theatre or music experience preferred but not required.

;Training Available

*Sound Designer, Technical Director, or Stage Manager may be available to train the sound board technician.

;Time Commitment

*Approximately 15-30 hours during the final production week.
*Will be expected to work all performances of the production run.

==Set Construction/Set Painting==

Set Construction and Painting crews are responsible for the construction, painting and implementation of all scenic elements of a production in a timely manner and as directed by the Set Designer, Technical Director, and/or Set Decorator.

;Duties Include

*Building and painting flats, furniture, backdrops, and other set pieces.
*Maintaining and repairing sets and furniture, as needed.

;Desired Qualities/Skills

*Previous theatre experience is not required.
*Some knowledge of construction preferred for construction crew, but not required.

;Training Available

*On-the-job training is available.

;Time Commitment

*Can be flexible, but will need to set a schedule with Technical Director, Set Designer, or Construction Supervisor.
*Longer hours may be needed closer to final production week.
*Will not be expected to work the production run; must be completed by then.

==Accompanist==

The Audition Accompanist is responsible for playing the piano accompaniment for auditioners during auditions and call-backs.

The Rehearsal Accompanist plays production music during rehearsals, as requested by the Director, Music Director, and/or Choreographer. This may or may not be the same person who plays keyboard/piano in the orchestra during performances.

;Duties Include

*Audition Accompanists are responsible for sight reading and playing audition pieces during actor auditions.
*Rehearsal Accompanist learns and plays production accompaniment music during rehearsals, as directed by Director, Music Director and/or Conductor
*Rehearsal Accompanist attends rehearsals, meetings, and sitzprobe, as scheduled by Director, Music Director and/or Conductor.

;Desired Qualities/Skills

*Must be proficient at sight reading music.
*Must be knowledgeable about the audition and rehearsal process.
*Able to work flexible hours (mostly evening and weekend work required).
*Audition Accompanists are only used for 2-3 evenings before a production is cast.
*Rehearsal Accompanists are needed for multiple rehearsals over a 2-3 month rehearsal period.
*Ability to communicate effectively with a diverse population, including children.

;Time Commitment

*10-15 hours per production for Audition Accompanists.
*Rehearsal Accompanists are used anywhere from 5-20 hours per week during the rehearsal period.
*If also playing in the orchestra, will be required to attend all orchestra rehearsals, meetings, sitzprobe and will be expected to play at all performances of the production run.

==Orchestra==

Responsible for performing the music for final rehearsals and performances.

;Duties Include

*Learn and play music, as directed by the Music Director and/or Conductor
*Attend rehearsals, meetings, sitzprobe, as scheduled by the Music Director/Conductor, and all performances.

;Desired Qualities/Skills

*Proficiency in at least one instrument.
*A basic knowledge of theatre preferred, but no previous experience is required.

;Time Commitment

*10-15 hours of rehearsal time, once you have learned the music on your own.
*Approximately 15-30 hours during tech week
*Will be expected to play at all performances of the production run.

==Audition Monitor==

Assists Director and Production team of a particular production by facilitating auditions.

;Duties Include

*Mans the audition table, answering questions, registering auditioners and collating audition forms.
*Takes photos of the auditioners for casting purposes
*Maintains organization of the audition, forming queues and escorting auditioners to the appropriate audition area.

;Desired Qualities/Skills

*Previous theatre experience is not required.

;Training Available

*On-the-job training is available.

;Time Commitment

*3-4 hours per night for two (rarely three) nights for each production the Audition Monitor is scheduled to work (may be one production or more).