1. GC1: Job Roles in the Production Arts Industry
Within the Production Arts Industry, there are many different roles that are very important when
managing a show. There is a hierarchal structure that shows the different relationships between the
varieties of roles within the production arts company and helps to understand their importance of
and their different responsibilities within the team to help the show run smoothly and efficiently.
This is the Hierarchy Structure for In the Heights Musical:
Stage Manager
The Stage Manager is at the top of the Hierarchy because it has to look over everyone to make sure
everything is under control and has to coordinate all aspects of the company to ensure the
successful delivery of the performance. This involves a variety of activities such as organising the
production and coordinating communication between the various other roles. It is also about
working with all the different managers, actors and technicians as well as liaising with the front of
house staff and director. Therefore people management and organisation skills are highly important
within this role. The Stage Manager needs to have good understanding of both the technical and
artistic elements of the performance so they can ensure it is delivered exactly to the director’s
requirements. They have to be involved in the rehearsals through to the live performance where
they will be required to deal with any emergencies or issues that may occur before and during the
performance.
The different Roles and responsibilities will vary depending of the size of the performance, but the
tasks will typically be the same. They will include:
Distributing all information and responsibilities to the other managers and departments.
Supervising over the whole productions and when the set, lighting and sound are installed,
and when all the equipment is removed.
Ensuring the company’s welfare and maintaining a good working knowledge of all relevant
health and safety legislation and good working practice.
Running the backstage and onstage areas during performances.
Stage Manager
Assistant
Costume
AS
Manager
Assistant
Props
Props
Mistress
Costume
Mistress
DS
Manager
FOH
Manager
Lighting
Designer
Sound
Operator
Sound
Designer
Lighting
Operator

2. Liaising with the director, stage personnel and other technical departments, e.g. costume,
lighting, sound.
And making sure the whole performance in successful and professionally.
A Stage Manager is the one who has overall responsibilities for the stage management and the
smooth execution of the production. Once the house opens for a performance, the stage manager
controls all aspects of the performance by calling the cues for all transitions and acting as
communications for the cast and crew. Within the Stage Management team there will also be a
“Deputy Stage Manager” and “Assistant Stage Manger”. These roles are important because they will
help with any problems that occur that the head Stage Manager cannot do efficiently.
Sound Designer
A Sound Designer is very important within the Production Arts Industry. It is responsible for the
process of specifying, acquiring, manipulating and generating audio elements. The sound designer
will also have to work with the director to make sure it is reaching the directors requirements and
also communicate with the production crew to define the preferred atmosphere and achieve the
overall performance goal. The Sound Designer also will create appropriate sound effects and also
alter the sound so the correct impact is achieved.
The roles, responsibilitiesand skills of a sound designer will include:
Operating a variety of digital equipment to create and mix sounds.
Be able to communicate with director and crew members and also the lighting operator to
help achieve common sound goals.
Manipulating, Generating, Designing and acquiring all sound elements.
Have creativity to be able to imagine different effects.
Ability to work under pressure and the changing of deadlines and requirements.
Sound designers first read the script and research the play to learn its plot and characters as well as
its period, mood and contextual elements. Additionally, the designer searches the script for
information specific to the sound design, such as on stage noise for example the ringing of a
telephone as well as offstage noises such as trains or storms. The designer also looks for scenes in
which sounds could be used to support the mood of the play. Often referred to as atmospheric
sounds, these may not be specified in the script but can be added to help the audience understand
the emotional and physical environments of the play. After designing all the sound elements of a
performance they will them communicate with the Sound operator who will bring the ideas and
designs to life.
Sound Operator
The sound operator is underneath the Sound Designer within the hierarchal structure of the
Production Arts Industry. Their main concern is the recording, manipulation, mixing and producing of
the sound. They have to communicate with the director and crew of the production but mainly the

3. Sound Designer to have the appropriate sounds and also the director’s requests and intentions. They
need to be present within all rehearsals and tech/dress runs to make sure the performance runs
smoothly and efficiently and operator of the final show.
The roles, responsibilities and skills will include:
Checking all equipment runs smoothly and is present and ready.
Communication skills with Sound Designer, crew members and director.
Manipulating, Generating, Mixing and producing all sound elements.
Pay close attention in case they are required to move position of any equipment.
Ability to anticipate and think on the feet, so that in case anything goes wrong during the
performance they can get the performance back on track.
Good timing to make sure the lighting and sound cues are in time with each other and are
correct cues for the show.
FOH Manager
The Front of House Manager has many different duties and responsibilities for example: setting up
the front area of the venue; making sure the customers have the best experience; organising
refreshments; the paying system and also the overall organisation of the event. They will be present
on the night to oversee the people attending that night’s performance and make sure the venue
facilities are running smoothly. They will also help run the show at the start and end and if there are
any intervals within the production to sell refreshments and sell tickets and generally help the
audience with any questions or queries or complaints they may have. This role is the first point of
contact with the public so you need to be very sociable and talkative. The Front of House Manager
will also communicate with the Marketing Team to help with the sale and advertising of the
performance.
Their main roles, responsibilities and skills will include:
Ensure all performances and events are appropriately staffed with the correct Front of
House team.
Monitor the staff’s work performance, timekeeping and general discipline and implement
staff dress code.
Take responsibility for all FOH sales, including the ordering of programmes and stock and
the supervision of sales systems and stock control.
Implement procedures for cashing up and the use of floats and ensure that the security of
cash and stock is protected.
Work closely with the Stage Manager and the Front of House Team to ensure the theatre
and all events operate smoothly and efficiently.
Work with the marketing department regarding customer care to implement monitoring
data and user surveys for audience events.
Refreshments are all in stock.
Communications skills are important whilst communicating with the customer.

4. The Front of Manager also has a Front of House team who they need to communicate to and to
supervise. They need to be able to give clear directions to this team so that they all have specific jobs
roles within the performance.
Lighting Designer
A Lighting Designer is very important within the Production Arts Industry. It is responsible for the
process of specifying, acquiring, designing and generating all lighting elements. The lighting designer
will also have to work with the director to make sure it is reaching the directors requirements and
also communicate with the production crew to define the preferred atmosphere and achieve the
overall performance goal.
The roles, responsibilities and skills of a lighting designer will include:
Operating a variety of digital equipment to create different lighting states.
Be able to communicate with director and crew members and also the sound operator to
help achieve common sound goals.
Generating, Designing and acquiring all lighting effects.
Have creativity to be able to imagine different effects.
Ability to work under pressure and the changing of deadlines and requirements.
The Lighting designer looks for scenes in which lighting could be used to support the mood of the
play. Often referred to as atmospheric lighting, these may not be specified in the script but can be
added to help the audience understand the emotional and physical environments of the play. After
designing all the lighting elements of a performance they will them communicate with the lighting
operator who will bring the ideas and designs to life.
Lighting Operator
The lighting operator is underneath the Lighting Designer within the hierarchal structure of the
Production Arts Industry. Their main concern is the producing of the lights. They have to
communicate with the director and crew of the production but mainly the Lighting Designer to have
the appropriate lighting effects and states and also the director’s requests and intentions. They need
to be present within all rehearsals and tech/dress runs to make sure the performance runs smoothly
and efficiently and operator of the final show.
The roles, responsibilities and skills will include:
Checking all equipment runs smoothly and is present and ready.
Communication skills with Lighting Designer, crew members and director.
Producing all Lighting effects and states
Pay close attention in case they are required to move position of any equipment.
Ability to anticipate and think on the feet, so that in case anything goes wrong during the
performance they can get the performance back on track.
Good timing to make sure the lighting and sound cues are in time with each other and are
correct cues for the show.

5. Costume Mistress
The Costume Mistress is responsible for supervising all wardrobe related activities and issues during
the course of a production. The costume Mistress is responsible for all dressers working on a
production. The Costume Mistress is in constant communication with thestage manager and
sometimes the director to make sure the costume is correct at all time. They help to coordinate and
assign dressers to specific performers and tasks and help determine where and how costume
changes are made. Generally, the wardrobe supervisor decides whether a point in a production
requires a quick change backstage, or if there is time for a normal change in the dressing room. All
dressers report directly to the Costume Mistress with any problems, or questions and they act as
primary liaison between dressers, the costumer, and stage management.
The wardrobe supervisor's primary responsibilities include:
The care and proper maintenance of all costumes, shoes, undergarments, hats and costume
related personal props such as gloves, jewellery, parasols, fans and pocket books.
To ensure the proper labelling, hanging, storage and preset of all costume pieces.
To create and execute a proper cleaning schedule for all garments, ensuring
that laundry and dry cleaning are done on a regular basis between performances. They also
coordinate the regular changing of dress shields, the application of garment freshening sprays
and providing clean undergarments to the performers.
To ensure that all costumes are properly pressed or steamed prior to each performance.
The wardrobe supervisor also regularly inventories and inspects all costumes and coordinates all
costume repairs.
At the end of a production run, the wardrobe supervisor oversees all aspects of the costume
strike. In the case of rented costumes.
Organisation Skills are key.
Props Mistress
The Props Mistress is responsible for purchasing, acquiring and/or manufacturing any props needed
for a production. They also need to ensure all props are present at the start of each show and
maintain present and correct throughout all the productions. The props mistress also works with
other members of the production team, managing the physical appearance of the stage or set, for
example they might work with the director and set designer to help make sure everything is correct.
Overall the Props Mistress is responsible for the set up and organization of the props. They also
ensure that selected props suit the production and overall design, and that they accurately reflect
the production's time period and culture. The Props Mistress oversees the staff, and the smooth
running, of the Props Department, and make sure it is working to a high standards of accuracy and
detail.
The Props Mistress responsibilities include:
Break down the script, and determine what props are required.

6. Draw up complete properties lists, and set up and label the properties tables, which are used
during production.
Organisation Skills are key.
Allocate budgets to purchase, hire or create props, and plan and manage these budgets.
The work may include planning, designing and adapting any special hand or set props
required by the production.
They attend all rehearsals, in order to note props' placement and use, and any change in
action that affects props.
The care, maintenance and possible operation of all props
The Props Mistress usually oversees the work of a number of people, and must therefore have
excellent leadership, management and motivational skills. As Heads of Department they should be
able to cope with pressure. Also they should have excellent practical, organisational, planning and
time management abilities are vital, as are written and oral communication and presentation skills.