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Stage managers typically provide practical and organizational support to the director, actors, designers, stage crew and technicians throughout the production process. They also are the director’s representative during performances, making sure that the production runs smoothly. The role of the stage manager is especially important to the director in rehearsals.

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Costume designers begin their work by reading the script to be produced. If the production is set in a specific historical era, the fashions of this period will need to be researched. To stimulate the flow of ideas at the first meeting with the director and the design team (set, costume, lighting and sound designers), the costume designer may want to present a few rough costume sketches.

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The director's creative collaboration continues during his or her work with the actors in rehearsals. The actors will bring their own interpretations to the project and perhaps inspire the director to rethink his or her interpretation.

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Publications may include an in-house newsletter, a patron newsletter (sometimes these two are combined), a season brochure, and brochures about the company and its services (such as educational programs, youth theatre, etc.). In some companies, the season brochure is the responsibility of the marketing person, while the newsletter or brochures are handled by the publicity or public relations person.

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Some directors will already have very clear ideas about what the sound effects and/or music should sound like, while others may request that the sound designer/composer sit in on rehearsals to assist with developing effects and music to fit the specific contexts in which they will be used.

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The set designer will normally read the script many times, both to get a feel for the flavor and spirit of the script and to list its specific requirements for scenery, furnishings and props. The time of day, location, season, historical period and any set changes called for in the script are noted.

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This person is responsible for designing and securing all stage properties needed for each character in show. (Note: Some companies have two positions--a Prop Manager who is responsible for building, storing and cataloging all props for the company, and a separate Prop Master for each production.)

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BASIC JOB DESCRIPTION: The Props Designer/ Manager is responsible for obtaining all props needed for the production. They also work with the Stage Manager in gathering appropriate rehearsal props early in the rehearsal process. They may also be called upon to help the Scene Designer dress the set.

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Interview with NAC Propsmaster Victor Elliott and propmakers, Paul Whitbread and Vicki Veenstra

By Janet Irwin

The Place: the Prop Shop at the National Arts Centre

Located deep in the backstage area, down stairs, through doors, and along hallways, the Prop Shop is a space that, when you finally manage to find it, you don't know where or what to look at first. It's a large workshop full of the history of the past forty-one years of theatre making at the NAC. There is a lot to take in. It's fascinating. There are life-sized dummies, an over sized wreath, a dragon wall-hanging, a vintage hair drier waiting for the woman with the perm, helmets, chairs of all sorts, tables, flowers, pillars, boxes upon boxes of materials, tools, fabrics, and useful bits and pieces of all kinds.

The People: Victor, Paul and Vicki

Waiting for me for the interview were Victor Elliot, Propsmaster, who has been working here for the past 25 years, and Paul and Vicki, who have been here since 2001. They are an interesting group, and by way of introduction, they all arrived at prop building from different directions. Victor started out studying science at university, and fell, as he said, "into the wrong company": a theatrical production that diverted him into an adventure that's still in progress.

Vicki went to an arts high school, studied musical theatre at college, got into interior design and art direction for film and television, then, needing something more "hands-on" began making puppets, and then props.

Paul began a career in design, moved to event management, and built sets for film and television. It was on a set for a tv show that he met Victor, who recruited him to the NAC. As a team, they bring years of experience in related fields, strong skills in design and building, and a passion for "making stuff."

The Job: Building and designing props

Victor defines a prop as "anything that's carried onstage. But the work of the props department branches into the scenic area when there are needs like specialized sculpting on a piece of set, and into costumes when articles like masks are required. Props builders work with the widest range of materials from cloth, to metal, to fiberglass, to plastic, to wood."

Meeting the Maquette

The first important meeting is with the designer and the maquette. At that point, the designer discusses the concept of the show, the theme, mood, feeling, and general look of the production.

Victor: "The maquette helps us see how the props will move - through doorways and in transitions; this is information that won't be in the designer's notes, but are things that we need to know to help us in the build. It also gives us a sense of the overall look. When we're out swatching (finding the small pieces of fabric they test for colour and texture) it gives us a frame of reference."

Getting to Work and Making Lists

Props builders get to work weeks before rehearsals begin (and rehearsals start four to five weeks before opening.) Prior to starting, they have read the script, made preliminary props lists, and estimated expenses. The scenic designer has also made a list, and that list has been informed by discussions with the director.

Lists are all important, and the items on them remain in flux depending on what changes are happening made in the rehearsal hall. Any prop that can be taken from existing stock - as is or modified - redu ces expenses and allows for budgetary flexibility. Then the work of researching, finding, buying, borrowing and building begins, and carries through until the show opens. Rehearsal props (approximations of the real thing) are used by the actors as they work, leaving the builders time to work in the shop, and respond to the requests coming from rehearsals.

What Makes a Good Props Builder?

When asked what it takes to be a props builder, they all chimed in.
Vicki:

Experience with multiple materials and techniques

Versatility, and tenacity

Ability to problem-solve: "You have the idea, you do a test build, you learn from that, and take what you've learned into the next phase."

Victor:

Ability to translate the design of a prop, transmitted through photos, notes and discussion into something three-dimensional

Habits of observation and experimentation

Fortitude to roll with the punches

Tenacity to hunt down the perfect prop

Thick skin - that perfect prop you chased for days may be cut from the show

Communication skills - as the production moves forward, you are dealing with more people and information: the director, designer, stage management, technical director. Changes can come thick and fast once the production hits the stage and the director really sees how things are working

Paul:
"What's required in this field is really the polar opposite of how industry, government, education - most disciplines - operate. The prop maker needs to be and 'anti-specialist;' broad in many areas, and not tightly focused on any particular area of specialization."

What is A Good Prop?

Victor: " It needs to work perfectly. The biggest anxiety comes from the practical prop: the prop that needs to work normally then change in some way - break or explode. You know how fallible these effects are, so when you as the props builder are watching from the audience, and the effect works, you breathe a huge sigh of relief.

"And a good prop needs to last through to the final performance, looking like it looked on day one."

Paul: "A good prop never looks like a prop. It appears to be the real thing, no matter how many effects have been built in. The best prop has been worked on so well that it looks like it should look, not like something that has been rigged to create an effect."

Vicki: "A good prop never takes focus the focus off the storytelling. That's where we want the audience to be concentrated."

And they all agreed on that.

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By Janet Irwin Located deep in the backstage area, down stairs, through doors, and along hallways, the Prop Shop is a space that, when you finally manage to find it, you don't know where or what to look at first. It's a large workshop full of the history of the past forty-one years of theatre making at the NAC.

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Costume Designers are in charge of designing, creating, acquiring and hiring all costumes for Actors and extras

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A theatre director is in charge of the creative vision of a theatre production. Their goal is to bring out the best performance from the actors and tell the story of the play in a compelling way. A theatre director also oversees creative choices on set, costume, and design - though those decisions are made in conjunction with the other creatives involved. Theatre at it's best is a collaborative process and a theatre director will put together a great team to support their vision.
Casting
A theatre director must first cast their play. Casting a play well solves many of the issues later on when directing. If the actors are comfortable and right for their roles the directing work becomes more collaborative and less didactic. Good actors, or actors that have been well cast, should be nudged not pushed. If you are trying to get something out of an actor that wasn't there to begin with it can be tough going. Most theatre directors take their time to make sure actors are right for the role. As theatre also has long rehearsal periods theatre directors often look for what an actor will be like to work with on a personal level. (So for actors - don't be difficult).
Creative Vision
It's the director's responsibility to set the creative vision for the play. Having a clear vision helps the rest of the team tell the story better. Theatre is storytelling. The director also sets the emotional temperature of the rehearsal room as they are seen as the one leading the production. Theatre directors must try and set the culture of the production. If actors see that the director is disinterested their motivation will slump.
Read Through
Usually most rehearsals start with a read through of the script. The director will guide this read and may ask the actors to bring a certain energy to it. Some directors spend a lot of time around a table, working through the script, whereas some like to get up on the floor. Either way can work, though I like to do at least 2 reads of the play before getting up.
Blocking
Directors work with actors to block the play (where everyone stands and moves). Some directors are very prescriptive and others tend to work off actors impulses. Either way, blocking is an important part of the directing process. The goal is to make it as natural as possible so that it doesn't look like blocking.
Runs
Once the play is blocked and the scenes are beginning to take shape, it's time to start doing runs. Runs of the play, or of certain acts, helps actors get the flow of the play and help the director see where the issues are. Often these are referred to as "stumble throughs" because they can be a pretty messy business.
Tech and Production
The director is heavily involved in the technical side of the production: choosing lights, adjusting sound cues etc. After all it's their vision. Tech week, as it's often called, can be arduous and at times frustrating, but it is an inevitable part of any production.

A theatre director has a lot on their shoulders, but when it all comes together it can be a very rewarding experience.

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What Does a Theatre Director do? | Theatre Directing Explained

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A theatre director is in charge of the creative vision of a theatre production. Their goal is to bring out the best performance from the actors and tell the story of the play in a compelling way. A theatre director also oversees creative choices on set, costume, and design - though those decisions are made in conjunction with the other creatives involved.

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Experience, reputation and credits, plus a passion for all things theatre, are prerequisites for a successful career as a theatre director

Theatre directors have responsibility for the practical and creative interpretation of a dramatic script or musical score.

You'll be involved in the whole process, from the design and pre-production stages, right through to the final performance.

You'll work closely with creative and production teams, performers and the producer to create a performance which connects with the audience. You'll therefore need to be able to coordinate effectively across a range of disciplines and with artistic vision.

Most directors are usually employed on a freelance or fixed-term contract basis as artistic or resident directors in repertory companies.

Some directors are also writers, designers and performers and may write, devise, design and act in their own work.

Responsibilities

Some theatre directors act as an administrator or producer, depending on the staffing structure and size of the theatre. You may also work alongside an executive administrator or general manager who heads the theatre, or an artistic director who selects the plays and determines the programming.

Specific tasks vary depending on the role and type of theatre, but common activities include:

programming and budgeting

working with writers through workshops or script development schemes

adapting a script and, if the play is newly written, working with the writer or collaborating with playwrights

breaking down a script, analysing and exploring the content and conducting relevant research

translating and interpreting a script or musical score

holding auditions for productions, selecting and hiring designers, musicians, etc.

managing time and organising people and space

attending production meetings with set designers

organising rehearsals

communicating and liaising with all parties involved, including actors, the creative team, the production team and producers

attending preview performances and preparing detailed notes for the cast and for the creative and production teams

helping to publicise the production by giving interviews and leading discussions.

Salary

Salaries depend on the length and type of contract, e.g. freelance, repertory or touring.

The Independent Theatre Council (ITC) and UK Theatre negotiate minimum rates of pay with appropriate entertainment unions on behalf of their members.

The agreed weekly fee for assistant directors is around £480.

A theatre director of a full-length play should receive a minimum preparatory fee of £1,614.30 and weekly rehearsal payments of £494.

Freelance directors in a commercial repertory theatre can command a minimum fee of around £3,015, with a weekly fee of approximately £560 to £670.

Directors may negotiate their own contracts and salaries or they may employ agents to deal on their behalf. Variations in salary may be considerable. Low salaries may be supplemented by freelance work, running creative workshops or script consultancy. Working as a theatre director can be a precarious way to earn a living. Directors may also branch out into acting or voice-overs.

Income data from the ITC and UK Theatre. Figures are intended as a guide only.

Working hours

Working hours involve regular weekend and evening work. Many directors work more hours than they have been contracted for, with no time off in lieu. Building-based directors tend to have more regular working patterns and conditions.

What to expect

Some directors are volunteers or work for their own companies. In a large theatre, an assistant director may support the work of the director. For small-budget studio performance runs or for fringe productions, a director may work alone.

Theatre venues vary enormously. The working environment may be dark and gloomy.

Theatre directors usually belong to the trade union Equity. Membership also provides insurance and legal assistance.

Most directors are employed as freelancers on contract for each production from the planning and rehearsal period through to the final performance. Fixed-term contracts are also available, which tend to last for a few years.

The work can be highly stressful and frustrating, but it can also be extremely rewarding.

Travel is common and may involve overseas work. If working with a touring company, it's unlikely that directors will be on the road for the full tour, although they may visit certain venues.

Want to use theatre to change lives?

Find out about MA Applied Theatre

Qualifications

A degree or HND is not essential to become a theatre director. You may be able to progress to the role after gaining a reputation and experience in other positions such as:

A relevant degree or HND may be helpful and could provide some of the necessary skills. Related subjects include:

Postgraduate courses are not necessary if you have a relevant degree or a certain amount of practical experience.

If you have an unrelated degree you may want to get a postgraduate qualification, but make sure the course has a strong emphasis on practical skills, e.g. in theatre or drama directing.

You can search for relevant courses at the Federation of Drama Schools, and search postgraduate courses in theatre studies.

Skills

You'll need to show:

creativity and the ability to express yourself both orally and in writing

persuasiveness and a willingness to take artistic risks

excellent negotiation and interpersonal skills

self-motivation and the ability to motivate and inspire others

the ability to work as part of a team and time management skills

an awareness and understanding of technical issues, the workings of a theatre and the process of performance and acting

the ability to develop innovative ideas and to solve problems creatively and practically

organisational and research skills

knowledge of relevant health and safety legislation and procedures

dedication and enthusiasm.

Theatre directors must also consider issues of ethics and authorship. Understanding all types of theatre, as well as having an awareness of audiences, resources and investors, is vital. Work may come from many avenues and you'll need to show flexibility in your approach.

Work experience

You should gain practical theatre experience in acting, stage management and direction in amateur or fringe theatre, e.g. through youth theatre or a student drama society.

Consider forming your own theatre company. This is a great way to learn about the directing process and how to work with actors and other members of a production team.

Try and get work as an assistant. Contacts for speculative applications are available from the Performing Arts Yearbook. Explain why you want to work with a particular director and include all relevant experience on your CV.

Try to see as many productions as you can, taking in a range of styles in a variety of different venues. Talk to the people who are creating the work. Often, there are question and answer sessions with directors after a performance. Also, reading plays and novels, adaptations and screenplays will broaden your knowledge.

All theatre experience is useful and you can learn more about the organisational structure by working with the front of house team, perhaps as a steward or box office clerk. Consider other roles, for example in the wardrobe department, with the stage crew, or in the lighting or sound departments.

Networking is a key factor in getting work. Many jobs are filled through contacts made while working, so keep a list of contacts you make in the field and stay in touch on a regular basis.

Employers

London has an extensive list of theatres, both within the West End and in the surrounding areas, so most UK-based directors will work there at some point in their career.

However, there are also many opportunities in regional theatres around the UK. These include:

producing theatres, where plays are programmed, rehearsed and created (sometimes newly written) for that particular venue

receiving theatres, which act as a venue for touring productions.

If you prefer to work in a less traditional environment, there are rewarding opportunities available in:

Many directors find that there are more openings in this type of work early in their career, rather than in traditional theatre.

Each year, many new directors take their first production to the Edinburgh Fringe Festival. There are also other large fringe theatre festivals throughout the UK, so it is worth investigating if your local town has one.

Look for job vacancies at:

Many jobs are filled by word of mouth and by being in the right place at the right time. It's worth sending speculative letters to artistic directors or producers at larger venues, particularly if you already have relevant qualifications and experience. Contacts can be found at the Performing Arts Yearbook.

Professional development

As it's likely you'll have built up experience before becoming a theatre director, you'll already have many of the necessary skills.

Many directors have no formal training and continue to develop required skills on the job. Few venues can afford to sponsor in-service training and if you are a freelance director, you'll need to fund it yourself.

Some drama schools offer specialist courses in directing. Accredited courses in subjects such as stage management or technical theatre are available through the Federation of Drama Schools. It also provides details of other non-accredited relevant courses.

You may be able to gain some experience with professional regional theatre companies through the Regional Theatre Young Director Scheme (RTYDS). This offers various programmes including an introduction to directing, a three-month placement and 18-month residency. It also provides details of other schemes at various regional theatres for emerging directors.

The professional body for theatre and opera directors in the UK is Stage Directors UK (SDUK). SDUK membership may open up networking and professional development opportunities.

Reading the specialist press, such as The Stage, keeps you up to date with the latest news and opinion affecting the profession and can be useful for anticipating future career opportunities.

Career prospects

First appointments tend to be on a small scale, for instance, directing for a small touring company. Many directors come from self-started companies.

The chance to progress to more prestigious work is determined by a combination of:

A minimum of ten years of reputable experience is normally required to apply for senior posts.

Once you have extensive experience, you may choose to set up your own company or theatre venue. Alternatively, you could accept a residency as an associate or artistic director in a particular venue, where you'd be responsible for the complete programme of productions in a season.

These roles tend to be more managerial in nature, involving planning, budgeting and determining artistic policy. Artistic directors are also usually responsible for directing one or two productions each season.

You may move from subsidised theatres to the commercial sector, which can open up opportunities in film and television directing and may lead to a substantial increase in salary.

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Experience, reputation and credits, plus a passion for all things theatre, are prerequisites for a successful career as a theatre director Theatre directors have responsibility for the practical and creative interpretation of a dramatic script or musical score. You'll be involved in the whole process, from the design and pre-production stages, right through to the final performance.

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As a theatre stage manager, you'll manage rehearsals, actors, technicians, props and costume fittings, and liaise with front-of-house staff and the director

You'll need to have a good understanding of both the technical and artistic elements of a performance so you can ensure its delivered exactly to the director's requirements. Being involved from the rehearsal stage through to the live performances, you'll be on hand to deal with any emergencies that may arise.

Larger productions typically have a stage manager supported by a deputy stage manager and one or two assistant stage managers. For smaller shows, you're likely to work on your own.

Responsibilities

As a theatre stage manager, you'll need to:

set up and run rehearsal schedules

procure props, furniture and set dressings and, in small companies, assist in set construction

arrange costume and wig fittings

distribute information to other theatre departments

manage the props, and possibly the design budgets, liaising with the production manager regarding costs

supervise the 'get in' to the theatre, when the set, lighting and sound are installed, and the 'get out', when all the equipment is removed

compile and operate prompt copy - also known as the 'prompt script' or 'the book', which notes actors' moves and cues, and the requirements for props, lighting and sound

make alterations to the set between scene changes, prompt actors and cue technicians

take charge of the show once is starts, running the backstage and onstage areas during performances

make sure that what is supposed to happen during a performance happens and handling any problems that occur

liaise with the director, stage personnel and other technical departments, such as costume, lighting and sound

call actors for rehearsals and performances

during a long run, maintain and replace props and costumes as required

liaise with resident staff at other performance venues (if touring)

ensure the company's welfare and maintain a good working knowledge of all relevant health and safety legislation and good working practice.

Salary

Starting salaries for assistant stage managers and stage managers tend to range from around £18,000 to £22,000.

With experience, you can earn around £25,000 to £35,000.

Salaries for highly experienced senior stage managers with an established reputation can rise to in excess of £45,000.

The Independent Theatre Council (ITC) negotiates minimum rates of pay for its members. For current ITC/Equity weekly rates, see ITC Rates of Pay. The membership organisation UK Theatre also has rate cards for stage management in commercial theatrical productions. The Society of London Theatre (SOLT) also has rate advice for stage managers in West End theatrical productions.

Salary levels can vary significantly depending on a range of factors including your level of experience, the type of theatre company you work for and your location. Additional payments, such as touring allowances, may be available.

Income figures are intended as a guide only.

Working hours

You must be prepared to work long and unsociable hours including evenings, weekends and bank holidays.

What to expect

The work is based in theatres and other arts venues. Conditions backstage can be hot, dusty or dark, although this depends on the age and size of the venue. Open-air theatres may be the opposite of this.

The work can be physically demanding as you may be expected to help move or lift props, especially when working for smaller theatres.

You may also need a good head for heights. You'll be expected to 'muck in' and apply your skills to any given priority, especially at the beginning of your career.

Jobs are available in most areas of the UK, and there are also opportunities to work overseas. Self-employment or freelance work is possible. Experienced stage managers may opt to work freelance in order to gain more varied experience and earn higher rates of pay.

Occasionally, you may need to travel during the day. If you're in a touring company, you may spend long periods away from home.

Study at a top London drama school

Masters degrees available in acting, producing or writing

Qualifications

Although it's possible to get into theatre stage management with any degree, foundation degree or HND if you have experience, the following subjects are particularly relevant:

drama or theatre studies

music

performing arts

stage management

theatre production

theatre professional practice.

Members of the Federation of Drama Schools provide conservatoire style vocational training for students who want to be theatre makers, technical theatre practitioners and performers. See the list of member schools. Learn more about conservatoires.

Other relevant qualifications include the Level 3 Diploma and Extended Diploma in Performing and Production Arts and the Level 4 Professional Diploma in Technical and Production Practice for the Creative Industries. For more information see University Arts London - Qualifications.

You can enter the profession without a degree or HND at a more junior level such as a member of the stage crew or theatre technician. You may then be able to work your way up to the role of assistant stage manager and then progress further.

Although a postgraduate qualification isn't essential, a postgraduate degree in stage management or theatre may be useful, particularly if your first degree is in an unrelated subject. Search postgraduate courses in theatre studies.

Skills

You'll need to have:

excellent communication and organisational skills

a sharp eye for detail

the ability to stay calm in a crisis

people skills: persuasiveness, patience, tact and an understanding of the pressure performers are under

computer skills and awareness of current technologies

the ability to work under pressure, especially in the run-up to a performance

problem-solving skills and the ability to think on your feet

confidence, decision-making ability and negotiation skills

stamina in order to cope with long hours during technical and dress rehearsals, and for touring

administration skills, business awareness and the ability to manage a budget - will be needed if your role involves managing the business side of the theatre and for handling your own tax affairs

a driving licence can be very useful in this role.

Work experience

Competition for jobs is fierce and you'll need to have practical experience of theatre work. Try to gain this through student, community or amateur theatre groups and get involved in as many different areas of the theatre as possible. This can help to build up contacts, which may lead to future job opportunities.

Experience as a casual stagehand in local theatres can be useful. Arrange to speak to the stage manager at your local theatre to talk about possibilities.

If you're studying a relevant degree, such as stage management, make the most of work placements to establish a network of contacts.

Try to vary your work experience so you get a feel for how different types of company operate and how sets can differ. Also, watch as many different kinds of productions as you can and attend talks about different productions.

Reading specialist press, such as The Stage, will also help you keep up to date with what's happening in the profession and show your commitment.

Employers

There are theatre stage manager jobs in all parts of the UK. Employers range from small touring companies to medium-sized repertory companies and large-scale commercial theatres, such as those in London's West End.

Other employers include:

alternative, community, prison and children's theatre

fringe theatre

regional theatre

theatre-in-education companies

touring theatre.

There are also opportunities with national theatre, opera and dance companies, although these represent only a fraction of the opportunities available.

In addition to theatre work, stage managers can also work at open-air music concerts, festivals and theme parks.

Look for job vacancies at:

The Stage Management Association circulates Freelist every month, a list of members who are currently available for work.

Contact local stage managers for advice and to find out about any available work. Networking is a key factor in getting a job - many vacancies are filled through contacts made while working - so keep a log of any contacts you make in the field and stay in touch on a regular basis. You can also send targeted applications, via CV and cover letter, to theatre companies.

Professional development

Most of your training is likely to be on the job. Few venues or companies can afford to fund in-service training, so you'll be expected to take responsibility for your own continuing professional development (CPD).

It's important to keep your skills and knowledge up to date throughout your career. The SMA is the professional body that supports and represents stage management in the UK. It runs a range of short training courses aimed at enhancing your skills.

The association also arranges networking events, backstage tours and talks, which are good for building contacts and keeping up to date with industry news.

Organisations such as the Independent Theatre Council (ITC) and UK Theatre also provide courses, events and conferences. See ITC - Training Timetable and UK Theatre - Training & Events for more information.

Career prospects

You'll typically start as an assistant stage manager and, after gaining skills and experience, may progress to deputy stage manager. With further experience, your next step is to become a stage manager and then company stage manager, although this is usually only the case in larger theatres.

Some stage managers remain as assistants or deputies for their entire career, especially in larger organisations. Others may move between companies, filling roles as assistant, deputy or stage manager as required.

Geographical mobility will help your career development as you move between theatres, or travel with a touring company, to broaden your experience and skills.

It's possible to develop your skills to move into specialist roles, such as theatre lighting director, sound manager or wardrobe manager. This involves developing the technical or design skills you'll have learned through stage management roles through further training and experience.

You may have the opportunity to become a theatre manager or producer (sometimes called a production manager or production director). This involves working in larger theatres, running significant budgets and coordinating the whole physical production of a play. With experience and further training, some stage managers go on to become theatre directors.

You may be able to use the skills and experience you gain in the theatre to move into production jobs in television or film, where you could potentially work in roles including trainee floor manager. You could also move into stage management of large-scale music concerts or become an events manager.

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Discover what it takes to be a Theatre stage manager. Find out expected salary, working hours, qualifications and more.

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What does a set designer do? Typical employers | Qualifications and training | Key skills

A set designer is in charge of designing and creating the sets that appear in films, on television programmes as well as in the theatre. The role involves working and communicating with directors, producers, costume designers and other members of staff.

Typical responsibilities include:

reading scripts

producing plans, drawings and models of sets

preparing estimates of set costs

managing budgets

viewing possible outside broadcast sites

planning

attending rehearsals/film takes

meeting with and commissioning set construction companies.

Theatres

Film and video production companies

Terrestrial, satellite, digital, cable and independent television companies

Advertising agencies

Music video production companies

Experienced designers (particularly film set designers) commonly work on a self-employed/freelance basis.

Vacancies are advertised online, in national newspapers and in specialist publications including The Stage newspaper, Broadcast, The Knowledge, Ariel (for BBC jobs) and Screen International as well as their online equivalents.

Although there are routes into this profession for both university graduates and school leavers, employers will prefer candidates with degrees in theatre studies, creative or performing arts, drama, fine or visual arts, graphic or 3D design, illustration, architecture and landscape architecture.

The ability to demonstrate a genuine interest in, knowledge or experience of visual arts, culture and television, film or theatre is essential, and often more important than academic qualifications.

Job shadowing and unpaid/vacation work experience can be helpful. It is essential to make speculative applications - directories such as the British Theatre Directory, KFTV, Broadcast Production Guide, Kays Production Manual, the Guardian Media Directory, and Contacts contain useful contact information.

To find out how to get into a career in this area via a school leaver route, visit the media section of TARGETcareers, our website aimed at school leavers.

Stamina

Creativity

Enthusiasm

Determination

Perseverance

Imagination

Adaptability

Working well under pressure

Good spatial awareness

Technical skills

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TV/film/theatre set designer: job description

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What does a set designer do? Typical employers | Qualifications and training | Key skills A set designer is in charge of designing and creating the sets that appear in films, on television programmes as well as in the theatre. The role involves working and communicating with directors, producers, costume designers and other members of staff.

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Michael Buffong director of the Royal Exchange Theatre's production of King Lear discusses creative process

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Costume Designer Carrie Robbins details the process of costume design from the phone call to the sketch to the construction of the costume; relates the story of finding the perfect fabric for the "Sisters" dresses in "White Christmas" and not being able to purchase enough for all three productions - and then how the fabric was created on a computer; explains the costume designers "bible" (used to hold all information about the designs for a production) and the effort and detail that goes into it; and discusses the differences between costumes and clothes; what happens at fittings.

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DRAMA 101, INTRODUCTION TO THEATRE, MODULE 3 - Sound Designer

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DRAMA 101 -- the duties of a professional sound designer Used with permission from The American Theatre Wing. Source http://americantheatrewing.org. Video can be used for educational purposes only. Distributed by the Open Course Library Project, www.opencourselibrary.org, 2012.

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Careers at the National Theatre: Stage Manager

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In this collection of films we explore the exciting variety of careers at the National Theatre. From rehearsals through to press nights, Andrew Speed deals with a myriad of backstage departments to bring productions to life on the National Theatre stage.

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What's in a Stage Manager's Prompt Book (aka SM's Bible)

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The Stage Manager - In the Wings - Stagecraft 101 - WE LOVE THEATRE

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Continuing our new series here at CAH on YOUTUBE - We Love Theatre! The Stage Manager - In the Wings - Stagecraft 101 - WE LOVE THEATRE From the Series "In the Wings" created by the American Theatre Wing organization (the creators of the Tony Awards), this is Martha Donaldson, Stage Manager The Stage Manager is the conduit between the Director and everyone who makes the production happen, from actors through designers, production departments, stage hands, etc.

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How do you recreate 1920s Berlin through the eyes of a child for the Olivier Theatre stage? Bunny Christie talks about her approach in designing Carl Miller's adaptation of Emil and the Detectives, collaborating with the Lighting Designer and Animation & Projection Designer to bring the sense of adventure to life.

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How do you recreate 1920s Berlin through the eyes of a child for the Olivier Theatre stage? Bunny Christie talks about her approach in designing Carl Miller's adaptation of Emil and the Detectives, collaborating with the Lighting Designer and Animation & Projection Designer to bring the sense of adventure to life.

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Designing Shakespeare´s The Comedy of Errors | National Theatre

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Designing Shakespeare´s The Comedy of Errors | National Theatre

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Steven Levenson / Directed by Kenneth Posner video Daniel Sullivan

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Set Designer, Ken Larson, Hollywood, Local 800 - Home Page

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Set Designer Kenneth Larson, over 35 years in show biz. Computer and traditional Set Design and model building.

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A director's interpretation of a text can also have one of two goals: he may choose to create an interpretation that is as faithful as possible to a playwright's intention, or he may choose to bring his own vision, usually inspired by a writer's text, to the stage.