Production Concentration:

Production, Directing, and Design

Scenic Designer: Creating the set design for a theatrical production; conceptualizing the ideas necessary for sets.
Scenic Designers need to be extremely creative, artistic people. They should have the ability to take an idea from it inception and turn into a reality on stage. Experience working on sets for school plays and community theatre is helpful for aspiring Scenic Designer. Work in any aspect of theater is useful to obtain experience and help make important contacts. Some individuals intern or apprentice with other Scenic Designers in order to get additional valuable experience.
Scenic Designers should be able to work well with others, for the job demands good working relationships with the producer, director, lighting designer, carpenters, electricians, engineers, and assistants.
 
Lighting Designer: Lighting designer is generally responsible for creating the stage lighting for a theatrical production; conceptualizing the ideas necessary for lighting; determining necessary equipment; charting light boards; mapping out light placement. Lighting Designers working in theater must have a great deal of creativity. They must also have the ability to conceptualize what a particular scene would look like to achieve the desired effect. Individuals must have the capability and expertise to turn ideas into reality. Lighting Designers should have a thorough knowledge of theater, staging and color, as well as the skills of an electrician. They need the ability to communicate their ideas to others.
 
Costume Designer: Costume designer is responsible for developing and creating designs for clothing worn in theatrical productions. Costume Designers must have a great deal of knowledge about fashion, colors, and fabrics, and expertise in all facets of designing. They must be able to sketch and do fashion drawing. A sense of style is necessary to success. While it is not imperative to be an expert seamstress or tailor, it helps to have the ability.
Creativity is must. Knowledge of art history and costuming is useful. The Costume Designer works with a great many different people from directors and producers to actors and actresses to seamstresses, assistants, and scenic and lighting designers. He or she must be personable and easy to work with. Costume Designers should have the ability to work on a number of different projects at one time without getting flustered. He or she should be reliable and be able to finish projects within budgets and on time. The Costume Designer must have the ability to work under pressure.
 
Sound Designer: Handling sound requirements for theatrical productions; determining sound mix; blending and amplifying sound; designing sound effects. There are no formal educational requirements for becoming a Sound Designer. Training in electronics and sound techniques is necessary. There are vocational schools that teach this. Some Sound Designers pick up necessary skills by watching others. A college background is not required, but it gives the individual a well-rounded education, opportunities to gain experience in the field, and a way to make important contacts. Majors for those interested in sound design include theater arts or design. Sound Designers who work in unionized settings must be members of the local affiliation of the International Alliance of Theatrical Stage Employees (IATSE). In order to become a member of t his union, individuals must go through an apprenticeship program.
 
Stage Manager: Acting as the director’s representative; scheduling rehearsals; updating scripts; blocking shows; calling cues; handling paperwork. Stage Managers must have a great deal of experience working in the theater. Individuals may gain this by working in various capacities. Most, but not all, have acted as assistant Stage Mangers before obtaining their first position. Stage Managers must know at least a little about everything in the theater. They must know something about acting, directing, set design, lighting, and costuming. The more knowledgeable the Stage Manager is, the more successful he or she will be in the job. Individuals must be personable and get along well with people. In many circumstances, the Stage Manager must deal with others who are tense, worried, and/or nervous about openings. The individual must be compassionate and have the ability to calm people down and make them feel comfortable. He or she must be diplomatic in all situations. The Stage Manager should be detail oriented and have the ability to work on many projects at once. He or she should be able to remain calm in the eye of a storm.
 
Sound Person/ Audio Technician: Making sure the theater audience can hear the dialogue and sound effects during a production; mixing and blending sound; amplifying sound; playing sound effects.
Sound People need a complete knowledge of electronics, the soundboard, and other sound equipment. Most people get his experience handling the sound requirements for school productions or community theater productions. Others get this experience from watching technicians at work. Sound people must be able to work well with people. At one time or another, they will have to work with lighting designers, sound designers, actors, actresses, directors, stage managers, and a variety of other technician. They must have the ability to follow written or verbal director supplied by a lighting designer or stage manager. Sound People must be responsible; they must be at the job when they are supposed to be there. A show cannot wait for them to show up.
 
Lighting Person/Lightening Technician: Working the lighting control board during a theatrical performance; checking to see that lighting equipment is in working order. There are no formal educational requirements for becoming a Lighting Person. There are some who do not have a college background and others who have undergraduate and graduate degrees. Good choices for college majors include theater arts or design. A lot of the necessary training can be learned watching other Lighting People, lighting designers, and electricians at work. Interested individuals should consider becoming an apprentice or assistant or finding an internship.
 
Makeup Artist: Creating or changing the appearance of actors and actresses through the use of makeup.
Makeup Artists must have the ability to get along well with others and make them feel comfortable. Makeup Artists should be creative, artistic people, skilled in cosmetology and theatrical makeup and hairstyling. They should also have knowledge of theater, lighting, staging and costume design.
 
Wardrobe Dresser: Keeping costumes used in theatrical productions in good condition; assisting actors and actresses into costume; making minor repairs on costumes. Most dressers have prior experience working in the theater in some capacity. Some have been actors or actresses in theater or have worked in other capacities behind the scenes.
Dressers must have basic sewing skills. They must know how to make costume repairs including fixing hems and seams and sewing on buttons, sequins, and beads. Individuals must also know how to launder and press costumes. Successful dressers are personable and get along with everyone. They are good listeners and know how to make the actors and actresses comfortable in their costumes. Dressers learn to keep all conversations between themselves and the actors and actresses they dress confidential. Dressers see actors and actresses in situations that other people do not. Dressers must be careful not to make negative comments on costumes or the way the actor or actress looks in them. It is imperative that dressers be dependable and reliable.
 
Production Hairstylist: Creating hairstyles for actors and actresses in theatrical production; washing, cutting styling, and coloring hair and wigs for cast members. Production Hairstylists need to have a flair for working with hair. Individuals must be able to wash, style, cut and color hair and wigs. They must have the ability to create hairstyles for all types of hair and wigs that might be used on stage. Those who are also skilled at theatrical makeup techniques will be more marketable. Production Hairstylists need to get along well with others and make them feel comfortable. Production Hairstylists should have an interest in and knowledge of the theater. An understanding of lighting, staging and costume design is helpful in their work, and an ability to research is useful.
 
Producer-Theatrical Production: Finding scripts for production; locating investors; hiring support staff; making major decisions necessary to producing plays. Producers who have a good business sense are more likely to be successful at this job. Business, administrative, and math skills are necessary. Producers must also know enough about the theater industry to be able to speak knowledgeably about advantages and risk in investing in a particular production. Negotiation skills are a must. Producers should be extremely articulate and able to write clearly. They should be exciting, creative people who have a flair for putting group projects together.
 
Director-Theatrical Production: Visually interpreting the script; guiding the actors and actresses in their speech patterns and physical movement; coordinating all creative aspects of production; preparing the show for opening.
Directors have some type of theater experience, although there is no one career path. Many individuals work as assistant directors. Others begin their careers as actors, actresses, stage directors, or managers. Directors must be good at coordinating the various aspects of preparing a production, since much of their job is spent doing that. They need to be detail oriented and have the ability to manager many aspects of a production at one time. Directors need to have a lot of patience because they must constantly explain their creative vision to those interpreting it. They must also be good working with people.
 
Production Assistant: Handling production-related secretarial duties; typing production notes and casting lists; typing, duplicating, and distributing script revisions. This is an entry-level position. Contacts in the industry are helpful. Knowledge of theater is useful. Good typing and word processing skills are essential. The Production Assistant should be able to type quickly and accurately. Good spelling is also necessary. Shorthand or speed writing skills are also important in order to be able to take down what is said rapidly. A Production Assistant should be familiar with other office equipment including dictating machines, photocopy machines, and faxes. Production Assistants must have the ability to get along well with others. They must be personable, compassionate, and flexible. Part of the job includes delivering the new scripts and changes to each actor and actress as well as other cast and crew members. In some instances, when a script is changed, an actor or actress may personally lose what they consider to be important lines. The Production Assistant has the ability to deal with frustrating situations like the without getting upset. Individuals must be dependable and reliable. They should also be organized and have the ability to handle many details at once.
 
Casting Director: Casting eh roles in a theatrical production; auditioning actors and actresses.
Casting Directors usually need some experience working in theater, working as assistant casting directors, apprentices, stage managers, or assistant directors. There are also Casting Directors who worked as actors or actresses before landing their job. There is no one way to obtain experience. Casting Directors must have good communication skills and must be good listeners. In some situation, the producer or director may tell the Casting Director why type of actor or actress he or she is looking for. The Casting Director must have ability to match up the actor or actress with the right part and the contacts to be able to supply the right actors. A working knowledge of the workings of theater-stage and acting- is imperative. Casting Directors are very organized and detail oriented. They have the ability to do many things at one time. A good memory is essential.
 
Assistant Casting Director: Helping the casting director cast parts in a theatrical production; clerical work; running preliminary auditions; keeping record of auditioning talent. Assistant Casting Directors should be energetic, enthusiastic people with a great deal of personality. Depending on their experience level and duties, assistants may be required to perform a number of clerical tasks and should have typing and word processing skills and be able to file and keep records. Assistants should be detail originated and highly organized. Knowledge of theater and acting is helpful. Good communications skills are necessary. A pleasant phone manner is essential. The assistant will be both making and taking calls from agents, actors and actresses, and managers. The ability to take instructions and follow them is a must. The ability to match up the actor and actress with the right parts is a plus. Some individuals have an innate sense of this skill, while others can learn it by watching professionals in the field select actors and actresses for various parts. Assistant Casting Directors obtain jobs in this filed by working in clerical jobs for casting directors or consultants. Others work as interns or apprentices.
 

Behind the Scenes

Sound Person: Making sue the theater audience can hear the dialogue and sound effects during a production; mixing and blending sound; amplifying sound; playing sound effects. Sound People need a complete knowledge of electronics, the soundboard, and the other sound equipment. Most people get this experience handling the sound productions. Others get this experience from watching technician at work. Sound People must be able to work well with people. At one time or another, they will have to work with lighting designers, sound designers, actors, actresses, directors, stage managers, and a variety of other technician. They must have the ability to follow written or verbal directions supplied by a lighting designer or stage manager. Sound People must be responsible; they must be at the job when they are supposed to be there. A show cannot wait for them to show up.
 

Theatrical Administration and Business:

Company Manager: Overseeing the day-to-day activities and operations or a theatrical production; record keeping; keeping production moving smoothly; setting up and dispersing payroll funds; overseeing ticket sales; documenting the sale of tickets and cash flow after each performance. Company Mangers working in unionized theaters get job experience by entering an internship program run by the Association of Theatrical Press Agents and Managers (ATPAM). These programs provide on-the-job training by requiring an intern to work as an assistant to a Company Manager or general manager.
Company Managers must be detail oriented and able to work on a great many projects at once without getting flustered. They should be honest and reliable and have a great deal of knowledge about the theater and its workings.
They need to know and enforce union rules and regulations. Bookkeeping, math, and payroll skills are necessary, s are negotiations skills. Company Managers must work well with a variety of people and should be articulate and have good communications skills.
 
Box Office Treasurer: Managing box office operations; selling tickets; filling requests for mail order tickets; determining seating arrangements; counting many after performance; preparing statements detailing tickets sold and money received. Box Office Treasures must be highly organized and able to deal with many details at he some time. The ability to keep accurate records is essential. Bookkeeping and math skills are mandatory. A good memory is necessary, as well s the ability to supervise and work well with others. Treasurers need both verbal and written communications skills and must be very patent and diplomatic, since box office patrons sometimes express displeasure with their seats or the prices. The treasurers must remain cool and calm to resolve disputes. As many box offices are now computerized, computer skills are essential.
 
Theatrical Press Agent: Publicizing theater productions such as Broadway and off Broadway shows, regional theater groups; compiling press kits; writing press releases; arranging press conferences; developing publicity and promotional campaigns. Theatrical Press Agents need to be creative, innovative people who write well. A good command of the English language, word usage, and spelling is necessary in order to produce factual, accurate press releases, feature stories, and other material with unique angels or “hooks” to catch an editor’s eye. Theatrical Press Agents should be articulate and possess excellent communications skills. A good phone manner is essential, as much of the press agent’s work is done on the telephone. The ability to create excitement through unique publicity and promotional campaigns is imperative to a Theatrical Press Agent’s success, so a good working relationship with the press and media is helpful.
 
Theatrical Press Agent Apprentice: Assisting senior press agent in publicizing and promoting theatrical productions; leaning techniques of the trade. Individuals have to possess good communications skills to excel in this position. They should be able to verbalize clearly, intelligently, and articulately. The ability to make and take phone calls and to obtain the correct information is essential. The Theatrical Press Agent Apprentice must have excellent writing skills.
In order for t he individual to succeed, he or she should be an innovative, creative person; someone who can “brainstorm” and come up with unique ideas and concepts for publicity and promotion. They should be aggressive, persuasive, and able to get along well with others.

Performance Concentration

Performing Artists:

Actor: Performing in theatrical productions; learning lines; attending rehearsals. Most successful Actors and Actresses starring in Broadway productions have paid their dues by performing in a variety of situations including local, community, and school productions; summer stock; touring companies; etc. Others have worked in television, motion pictures, or other fields in the entertainment industry. Actors and Actresses working in the theater should be articulate with clear, pleasant speaking voices. They should be poised and have the ability to perform in front of groups of people. While the physical “look” of Actors and Actresses is important, there is no one appearance that can guarantee success. There are many good-looking men and beautiful women who do not make it as Actors and Actresses. What is important, however, is that individuals are talented in their craft and have the creative ability to portray different parts effectively. It is worth repeating that individuals working in any field of entertainment need a thick skin. They should be able to deal with rejection that all Actors and Actresses run in to at one time or another in their career. It is helpful in building a successful career for the individual to be personable and easy to get along with. He or she should also be dependable and on time for appointments, rehearsals, and all performances.
 

Choreographer: Developing dances, movements, and routines for a theatrical production; assisting in casting of dancers; teaching dancers routines and movements; attending rehearsals. Most Choreographers have had previous experience in the theater and dancing. While individuals should know a great deal about dance, they do not have to be great dancers to be Choreographers. They should, however, be great communicators with the ability to teach. They must be able to get concepts across to dancers. Technical expertise in dance is imperative, as is a basic knowledge of music and music theory.
The Choreographer should be a team player, for he or she works with a wide variety of people – the producer, director, dancers, set designers, lighting designers, costume designers, etc. He or she should be easy to get along with yet assertive.
The individual should be creative and have the ability to conceptualize ideas. In this way, he or she will develop movements and combinations of movements for the dancers.
 

Support Services for Performing Artists:

Personal Manager: Representing a client; overseeing and guiding all aspects of those or her career.
Managers must have a broad knowledge of the entertainment industry. Many learn as they go. Some have been entertainers and find they are more successful in the business end of the industry. Business skills are a must for Personal Managers. Contacts are especially important. The more prestigious contacts a manger has, the better the opportunities are for his or her clients. Personal Managers must be extremely aggressive on behalf of the people that they represent. Individuals need good communications skills and should be very articulate. The ability to negotiate is essential. Creativity is helpful in building a client’s image. Individuals must be able to offer their clients constructive advice in a positive manner. Successful Managers are hard working people who are confident enough in their abilities to surround themselves with a good team. They offer advice to their clients on the retention of attorneys, agents, and publicists. Managers must also have the ability to see the raw talent of a performer and develop that talent in ways that enhance their career.
 
Press Agent: Getting the name or project of a performing artist better known and more familiar to the public; compiling press kits; writing press releases; arranging press conferences; plotting publicity campaigns. A Press Agent must come up with creative angels for a client’s press releases, media events and feature stories. He or she must be articulate and able to write enticing press releases to persuade the media to use his or her ideas for articles and appearances.
The Press Agent must also be able to work under the constant pressure of not only deadlines, but also of clients who feel that they are not getting the exposure they deserve. In order for Press Agents to gain a good reputation with reporters, journalists, producers, and TV and radio people, they must be credible or they will lose their contacts. Press Agents often have prior experience as journalists, producers, reviewers, or talent coordinators.
 
Press Agent Trainee: Assisting a senior press agent in getting the name or project of an entertainer into the media and before the public; compiling press kits; writing press releases; assisting press agents in arranger press conferences; handling detail work for press agent. A Press Agent Trainee must be creative, articulate, and able to develop persuasive press releases to entice the media to use his or her ideas for articles. The Press Agent Trainee must be credible or the individual will not have the ability to build a list of contacts. In order to advance his or her career, it is important for the Press Agent Trainee to be aggressive in a non-threatening way. Press agents are often concerned that the trainee will become too capable and take their list of clients when they establish their own practice.
 
Theatrical Agent: Finding parts for actors and actresses in theatrical production; contacting producers and casting directors to fill openings; setting up auditions for clients; negotiating contracts. Theatrical Agents should have some experience working in a theatrical or other talent agency, either as an assistant, secretary, or intern to other agents.
Theatrical Agents should be knowledgeable about the theatrical industry and all its components. They should have extensive contacts in the industry, well-practiced negotiation skills, and an understanding of the rules and regulations of the various unions involved in theater. Theatrical Agents should be articulate and have the ability to communicate well on the phone. They should be very organized as they frequently work on a variety of projects at one time. Successful theatrical Agents are very determined, ambitious, and hard working.
 
Booking Agent: Securing work for performing artists; negotiating contracts; locating and signing up new talent. Many Booking Agents get experience by working as assistants or secretaries to other Agents. Some work as interns; others book local talent into clubs, work with arts councils, or place talent in other regional projects. Booking Agents must have a good understanding of the performing arts and entertainment industry and a basic knowledge of contracts.
Booking Agents must be excellent sales people and have a well-practiced ability to negotiate. Communications skills are also mandatory. Agents must be aggressive without being obnoxious.
 
Literary Agent: marketing playwrights’ scripts to producers; readings scripts; suggesting revisions; negotiating contracts. Literary Agents may start their careers as assistants to other agents, although many obtain experience in other fields prior to becoming Literary Agents. Agents sometimes work in publishing as editors or writers. Others gain experience working in the theatrical filed as playwrights, producers, theatrical or talent agents, or assistants. Literary Agents must have the ability to see raw talent. They must be able to read a script and envision the play. Literary Agents must be aggressive without being so pushy that producers will not want to talk to them. Marketing skills are necessary, as it is an agent’s job to sell his or her client’s work to other individuals. Agents should be organized and detail oriented. They must be able to work on many different projects as once without becoming confused. Contacts in the theatrical world are essential. If the Agent does not have contact, he or she must be able to make them.
 
Placement Specialist: Placing clients on radio and television shows; scheduling media tours; preparing clients for interview; arranging for clients to be interviewed for print media. The Placement Specialist must be persuasive and persistent. He or she needs to be articulate and have good communications skills and an excellent phone personality. The Placement Specialist should know how to write press releases, compile press kits, and prepare effective letters. A good working relationship with the media is important to the Placement Specialist’s success.
 
Celebrity Personal Assistant: Assisting actors, actresses, singers, dancers, and other celebrities to manage, coordinate, and organize their day-to-day activities; screening fan mail; answering phones; coordinating activities of other support personnel; planning parties or events; answering e-mails; assisting in maintaining household. Experience requirements for Celebrity Personal Assistants vary from job to job. In some cases, it’s an entry-level job. In others, the individual is expected to have some experience in the field. Generally, the personality and skills of the personal assistant are more important than experience. Often, for example, a celebrity may meet someone who is working in another field, make a connection and/or feel that they are savvy, and offer them a job. Successful Celebrity Personal Assistants are well-rounded, proactive individuals with broad knowledge in a variety of areas and a wide range of skills. This is the type of job where the individual needs to be very well organized with the ability to multitask. Computer skills are essential. Proficiency in a variety of computer software programs is useful. Superior written and verbal communications skills are needed. As the personal assistant is generally in the inner circle of the celebrity’s life, he or she often sees or hears things that the celebrity does not necessarily want out in the public. Therefore, the ability to be discrete is vital. It’s also essential that the personal assistant have the ability to fit in no matter the situation. He or she should have a neat, polished, professional, and classy appearance that won’t outshine the star. Excellent etiquette is also crucial.
 

Performing Arts Education:

Theater Arts Professor-College/University: Teaching courses in theater and the performing arts, including drama, acting, staging, scenic design, scriptwriting, dance, and music. Experience for college and university professors teaching theater and other performing arts classes can vary. Most but not all individuals have had some experience teaching on some level prior to their appointment at a college or university. Others have had actual experience working in the theater in various capacities. Professors must have a tremendous knowledge of the performing arts or theater industry as well as his or their own specialization. A genuine love of the performing arts is important. Individuals should be good communicators and should be enthusiastic about he subject matter with an ability to teach others.
 
Drama Coach: Coaching actors and actresses in acting techniques; instructing performers in stage movements; evaluating the performance of an actor or actress. Drama Coaches should posses a full range of acting skills and techniques. While it is not imperative that they be excellent actors or actresses themselves, they must have the ability to teach others the craft. Good communication skills are helpful in this profession. Acting experience is essential for the Drama Coach. Without it, he or she will have a difficult time explaining concepts and techniques. There is no substitute for on-the-job training. Many Drama Coaches are currently or were previously actors, actresses, or directors. Drama Coaches should have a great deal of integrity. They must have the ability to critique students honestly and gently. Enthusiasm toward a student’s progress is helpful.
 

Miscellaneous Careers in Theater and the Performing Arts

Advance Person: Arriving ahead of the performance of a theatrical or performing arts show to prepare for the program; assisting road manager or show coordinator with details prior to performance. Many Advance People obtain their job having no prior experience. Others have worked as publicity or promotional assistants. The Advance Person must like to travel and not mind traveling alone. He or she must be extremely organized and detail oriented and should be responsible and dependable. Successful Advance people are personable and articulate.

Halls, Arenas, and Other Venues

Hall Manager: Managing theater, concert hall, arena, or other facility; overseeing all activities in venue; supervising employees. Hall Managers need previous experience. Usually the individuals have worked in a theater, entertainment, or music business in some capacity for a period of time. A job as assistant manager of a convert hall is often extremely helpful to the individual. In managing a hall, one must be adept at reading entertainment contracts and the long riders that sometimes accompany them. One must have the ability to handle crises effectively and have considerable knowledge about the theater, entertainment, or music industries, as well as concert hall and arena affairs. Supervisory skills and responsibility are imperative for this position as well.
 
Resident Sound Technician-Theaters, Halls, Arenas, or Clubs: Overseeing the sound requirements of a facility; providing the sound for performances at concert halls, arenas, theaters, and clubs; working the soundboard; keeping sound equipment in good working condition. Resident Sound Technicians must be able to work well with a variety of people. As noted, the individual may work with the facility’s lighting technician and stage managers as well as the performing artist or group and their sound technicians, lighting people, management, and road crew. The technician must be responsible and dependable. Without proper sound a show can be ruined. He or she must attend all sound checks, rehearsals, and performances on time. The Resident Sound Technician needs knowledge of electronics, the soundboard, and sound equipment. As the individual must be at every performance, he or she should enjoy music, dance, theater, and all aspects of the performing arts.
 
Resident Stage Manager-Concert Halls, Clubs, or Arenas: Supervising activities that occur on stage and backstage during a performance at a concert hall, club, or arena. Resident Stage Managers should have a basic knowledge of lighting, sound equipment, and electronics. They either have to handle the lighting and sound requirements or advise technicians. The Resident Stage Manager should be dependable and reliable. The ability to get along well with people is helpful. Supervisory skills are often necessary if the individual is working with an assistant or crew. The Resident Manager must be detail oriented and have the ability to work on many projects at once. he or she should be able to remain calm in situations where others might panic. Many Resident Stage Managers get experience as sound or lighting technicians, while others work as Resident Stage Managers. Some learn the ropes while participating in theater, music, and other performing arts productions in school.
 
Usher: Helping patrons to get to their seats in a theater, hall, arena, or performing arts center; handing out programs; directing patrons to restrooms, telephones, and refreshments; settling disputes between patron; handling complaints. In most instances, the job of an Usher is an entry-level position. Ushers should be pleasant and friendly people with outgoing personalities. An ability to deal with others is necessary. Individuals should be articulate. Ushers need to have the physical stamina to be on their feet for many hours. They will either be standing or walking for a good portion of their work time. Ushers should also have the ability to remain calm in a crisis. They must be able to deal with occasional irate patrons who are too loud or do not like the location or their seats.