Green Room - Theatre Etymology - Part 5

The green room, if a theatre has one, is the room where actors wait in order to go onto the stage and also to relax before and after the performance, and sometimes even during the performance if they are not on stage. This room may be directly connected to the dressing rooms or it may be located somewhere that is both near the dressing rooms and the stage. However, green rooms aren't always green, so why are they called green rooms?

The origin of the term "green room" is not clear. There are many theories as to why green rooms are called green rooms. One theory is that the term comes from medieval theatre. It is thought that the performing area was called "The Green" and thus any room where actors waited might be called "a green room" because it was a room that would lead to "The Green." Then there's the theory that the room is known as a green room because in Shakespeare's day, actors would warm up in a room that contained plants. It was thought that being in a room with plants was good for the actors' voices. Since there were plants in the room, the room was known as a green room.

Another theory that claims to be from around the time of Shakespeare is that the room held unexperienced actors. Although the room was not limited to only unexperienced actors, it was likely that they would spend more time there than on stage like experience actors. These actors were "green" and thus the room was a "green room." There's also the theory that the room was where nervous actors would wait. When an actor was nervous, he might look sick or "green." Thus, the room was called a green room because of nervous actors.

There are also theories about makeup. One states that actors had to apply uncured makeup to their faces and then wait for it to cure. When the makeup was uncured, it looked green. So, actors sitting in a room would literally look green, and the room became known as "the green room." Another theory dealing with makeup is that actors often had to use fake blood when on stage. It is thought that the fake blood would get onto the walls in this back room. Fake blood on most walls looked very odd or concerning, but fake blood on green walls did not look as bad and thus the walls were painted green.

There are more theories that focus on the walls of the room actually being green. Another one is that an inexpensive material that was usually white or tan was dyed green and put over expensive areas of the theatre in order to keep them from getting damaged. This material also supposedly helped keep costumes clean, and thus it covered the walls of the room where costumes were kept, which also ended up being the room where actors waited and relaxed as sometimes it was also the dressing room. Then, there is the theory that the walls were painted green in the room to give relaxation to the actors. It is thought that this was to help relax their eyes from the bright stage lights, but it can also simply be that green is a relaxing color.

There are also the theories that come from language. One is that the term came from Cockney Rhyming Slang. It is thought that the stage was called the greengage, often shortened to green. Thus, the waiting room would be the "greengage room" or "the green room." Another is that the room was the "scene room" where the scenery was kept. For some reason, the word "scene" was misheard and and "green" replaced it and the room was called the green room.

There are probably even more theories. You can pick your favorite one for yourself (although you should teach others that there are many theories) or you can make up your own theory as well.

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In the Wings and Wing It - Theatre Etymology - Part 4

The phrase "in the wings" means to be ready at a moment's notice. "Wing it" is a phrase that means to improvise. Both phrases have origins from the theatre.

For anybody that knows terminology for parts of a theatre, the first phrase makes perfect sense. The wings are the areas on the side of proscenium stage where the actors who are going to go on stage next wait. The phrase moved from the theatre to use in every day language to mean to be ready at a moment's notice. Sometimes the phrase is used when people are waiting for somebody to be finished with a job or to retire because they are ready to replace that person.

"Wing it," while seeming it might come from the sudden movement of a bird's wing, also comes from the theatre. Sometimes, actors had to go on stage and act when they didn't know a role. This was usually when an actor suddenly had to fill in for another actor and wasn't prepared to do that because they were not assigned as an understudy or swing for the role they had to perform. There are different theories to exactly why actors would "wing it,' though.

The first, which was printed in an 1885 edition of Stage magazine stated that actors "wing it" because they are given the lines from somebody in the wings. The actor goes on stage and the person in the wings feeds them the lines. The other theory is that the actor was in the wings and had to quickly learn the lines at that moment. Thus, the actor would read the script while in the wings and memorize lines as best as he or she was able.

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Break a Leg - Theatre Etymology - Part 3

The phrase "break a leg" in theatre is used to wish somebody good luck in a performance. Sometimes when wishing a cast good luck, the phrase used is "break legs." It is known that there are many superstitions in theatre, however, the origin of this one is not certain.

The phrase started being used in the theatre in the 1920s. One thought is that the tradition came from a writing by Robert Wilson Lynd called "A Defence of Superstition." This was published in the October 1, 1921 edition of the New Statesmen. He said that the most superstitious people were those who bet on horse racing and it was bad luck to wish them good luck, so instead people should say something like, "May you break you leg!" Lynd did not give a source for this. In the same article, Lynd said that theatre people were the second most superstitious. It is thought that theatre people may have adopted the idea from this article or that Lynd got the idea from theatre people and put it in the article. The order is not certain.

Another theory is that the phrase "break a leg" comes from wishing somebody the chance to perform. This comes from when those who got to perform were the people who were paid and the people who didn't perform were not paid. It can also come from wishing that people might have to go out for a curtain call at the end of the show. In either theory, it means that the actor passed the "leg line" or passed the curtains in the wings known as "legs." Thus, the actor broke a leg, as the leg-line was crossed.

While those two theories are probably the ones that make the most sense, there are others such as when bowing, that would mean "breaking a leg" because the knees bent, so it was wishing an actor have a good performance so that multiple bows or curtsies be given. Then, there are the theories that the phrase came from the Greek practices of stomping in which if a person stomped too hard in appreciation of a performance, a person might break his or her leg. There's the theory that it could also mean breaking the leg of a chair from Elizabethan times when audiences would bang chairs on the ground in appreciation.

There are also theories that the phrase comes from translations of different languages and that they somehow made it into the English speaking world. No matter how the phrase came about, it has stayed as one of theatre's traditions to tell an actor "break a leg" in order to mean good luck.

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In the Limelight - Theatre Etymology - Part 2

To be in the limelight means to be in public attention. It was first used this way in a 1902 New York Times article that stated, "William S. Devery was in the limelight last evening. Tens of thousands of people of the district crowded the streets in the neighborhood and shouted the name of the ex-Chief of Police of New York." The origin of the phrase "in the limelight" comes from the theatre, but there is more history to how that originated.

It is not certain the lecturer in chemistry and philosophy at Surrey University, Goldsworthy Gurney, made the discovery by himself or if he built on the work of other scientists as differing accounts are given. However, it is known that sometime in the 1820s he created an oxy-hydrogen blowpipe. This was a pipe that introduced oxygen and hydrogen to a flame to make it very hot. He experimented with adding things in his blowpipe and found that when he inserted a bit of limestone, a bright and blinding white light that could be seen for miles was produced.

Thomas Drummond, a Scottish military engineer, saw a presentation about the blowpipe and limestone that Michael Farraday gave. Drummond was impressed and started using the "limelight" to help with surveying. He reported that he could see more than 60 feet, which helped in the dreary Scottish weather. Many people wanted access to bright white light, especially in the theatre so people could be seen on the stage even when it was dark.

In 1837, the first use of limelight at a theatre was seen in London's Covent Garden theatre. The limelights were placed downstaqge in order to light the rest of the stage. Actors and actresses were literally "in the limelight" during performances. The use of limelight became popular during the second half of the 19th century. Actors and actress could be seen on the stage and limelights could even be used to create the effects of moonlight and sunlight. However, it was not easy to use limelight because each light had to be monitored by a person and adjusted for each effect. The limelights were also extremely dangerous as they were fire hazards.

In 1879, Thomas Edison improved the design of the electric light bulb, finding the correct material for the filament. Because of this, the use of limelight faded and electric lights started being used. However, the phrase, "in the limelight" stayed.

Upstage - Theatre Etymology - Part 1

Upstage can be both a direction on the stage and a verb that means to take the attention from another actor (or group of actors). When upstage is a direction, it means the area at the back of the stage, near the backdrop. This area is known as upstage because of when stages were raked (tilted) so that the part furthest from the audience was the highest part of the stage and the part nearest the audience was the lowest part of the stage.

When upstage is a verb, the reason for this can have two different reasons for being used in this way. In this example, I'll name the actors Alex and Charles. Charles might move upstage of Alex and then in order for Alex to see him, Alex must look upstage, thus he is looking away from the audience. It seems like this was the first usage, but it is uncertain.

In the second example, Charles might move downstage of Alex. Charles now has more focus of the audience, especially if he decides to stand in front of Alex. Thus, Alex has been upstaged because he has had to move upstage. In both ways, Charles has the attention and Alex does not. Alex is either looking upstage and away from the audience or he is forced to stage upstage of Charles and not be as close to the audience.

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Other Managers, Crews, and General Occupations - Jobs in the Theatre - Part 21

It seems that I have pretty much exhausted what I can write about in fair certainty about jobs in the theatre. There are always some differences in different theatres with the jobs. However, what is now left seem to be general descriptions of other managers, assistant managers, run crews, build crews, and other general positions.

Some of the positions are things like musicians which can be anybody who may play in a band or orchestra or may be a singer in a choir. Dancers are the people who dance. They are under the conductor and choreographer who are under the director when it comes to theatre hierarchy.

I found that there was a deck manager, but it seems that this can be many things in the theatre. Some people say that the deck manager is also the assistant stage manager (ASM). Some poeple give the deck manager a different jobs. When also the ASM, it seems the deck manager is responsible for making sure there is order backstage. He or she is also in charge of making sure backstage is clean before a performance and also taking out the trash from both backstage and the lobby (and other places if trash is located there) after the show.

Other theatres seem to give the deck manager duties such as making sure staff for certain areas is present and being in charge of the audio equipment. Some give the deck manager the duties of helping load set pieces if the production is on tour or being staged at a different venue from where rehearsals were held.

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Head Usher - Jobs in the Theatre - Part 20

The Head Usher is the person that is ultimately responsible for making sure that the front of house is clean and making sure that patrons to the theatre feel welcome and safe. While the hierarchy changes in theatres, it is likely that the head usher will report to the Front of House Manager. It is also likely that the head usher will be responsible for other ushers. These ushers may be hired or they may be volunteers.

A head usher will be certain to provide the highest level of customer service to theatre patrons. When patrons enter the theatre, it should be clean and welcoming. The head usher will make sure that the area, including the bathrooms, is clean. This duty may be delegated to other ushers and the head usher might supervise or the head usher may do the work himself or herself. The head usher will also distribute programs to patrons for the show that they are coming to see.

The head ushers will be aware of any issues concerning seating for patrons. He or she will make sure that patrons that have any disabilities will have appropriate seating. He or she will also assist patrons with late arrival seating in order to keep disruptions of the show to a minimum.

After the performance, the head usher is responsible for collecting any feedback from the audience. He or she is then responsible for reporting this feedback to the appropriate manager. He or she will also make sure that the front of house and lobby are clean after each performance. Also, when necessary, he or she will assist the appropriate manager with setting up lobby displays and in the development of theatrical or lobby spaces.

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Tongue Twisters - Part 1

have a service call out about an electrical problem in my home, I'm going to have to take a break from the Jobs in the Theatre series again and just post a quick fun post. So, here are some tongue twisters.

Tongue twisters are a great way to warm up vocals and facial muscles before theatre. Say them slowly over and over to practice annunication and to make sure that you are talking clearly. In your off time, have fun trying to say them faster and faster. Then have fun laughing with others when you inevitably mess up and say something strange. Here are some common tongue twisters as well as others. This will be a series that breaks into other series as there are many tongue twisters that exist and can constantly be created.

• I wish to wash my Irish wristwatch.
• Red leather, yellow leather.
• We watch whales near Rwanda.
• Ducks sitting on the city docks.
• One smart fellow, he felt smart.
• She sells sea shells by the seashore
• She sees Swiss cheese.
• Irrelevant elephant.
• Willy's really weary.
• Tom threw Tim three thumbtacks.

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Development Manager - Jobs in the Theatre - Part 19

The Development Manager is the person who is in charge of fund-raising, development, and communications with donors. He or she will work closely with the artistic director, general manager, and the producer to come up with fund-raising ideas and make sure that the theatre has enough funds to operate successfully.

The development manager engages with funders in order to dialogue about funding the theatre. He or she may have meetings one on one with individuals in order to get monetary contributions for the theatre. He or she will also research and implement new ways of raising money and come up with innovative fund-raisers for the theatre. The development manager will work closely with teams for raising funds and will also work with them in order to figure out ways of crowd-funding.

The development manager is in charge of all communication when it comes to fund-raising and monetary contributions unless this role is designated to another person at the time. The development manager will contribute to all key company communications that involve marketing and will oversee all donor communications. He or she will also manage the portfolios for people, businesses, and foundations that fund the theatre. The he or she will be the person that writes excellent quality reports that are evidence-based in order to show financial reports and that the finances are being used properly.

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Scene Shop Supervisor - Jobs in the Theatre - Part 18

The Scene Shop Supervisor is the person that is responsible for seeing that the scene shop is run efficiently every day. He or she may be the supervisor over everything that is in a scene shop, or a scene shop may be broken down into parts such as a scene shop, a properties shop, an electrics shop, and a paint shop. If this is the case, the scene shop supervisor may have to oversee all parts of the scene shop or he or she may only be assigned overseeing the operations in the scene shop and other shops may have their own supervisors.

The scene shop supervisor also manages construction of theatre scenery. The very first thing that is done to accomplish this task is meeting with the artistic director, the technical director, the scenic designer, and sometimes the director of the play in order to find out what the vision is for the scenery. More meetings with these people may be necessary to make sure that the vision is being created successfully.

The scene shop supervisor will also teach the crews what they need to do. If the position is in a college, it is like the scene shop supervisor will need to teach students everything from the safety plan to how to construct sets. This may include teaching students about tools and their uses and then how to use them.

The scene shop supervisor will also come up with a schedule to make sure that the scenery is being completed on time. He or she will give help to others in the construction, placement, and rigging of scenery when needed. He or she will also make sure that the scene shop is constantly organized and will also conduct routine maintenance and upkeep of all scene shop tools.

When a production is over, the scene shop supervisor will help with strike in order to properly remove all scenery. It is then his or her job to decide what scenery can be kept to be used again (often repurposed and repainted), and what needs to be thrown out as it does not seem like it can be used again.

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Costume Shop Manager - Jobs in the Theatre - Part 17

The Costume Shop Manager's job is to supervise everything that goes on in the costume shop. Sometimes this position is called the Costume Shop Supervisor. The Costume Shop Manager will make sure that everything in the costume shop is organized and ready for whenever a production starts needing costumes to be made.

When pre-production of a show starts, the costume shop manager and the costume designer meet. They will review sketches and make a plan to help achieve the vision of the director and the costume artist. Then, a budget based on the discussed visions is made.

After this, staff is hired if there is not already a set staff. The budget is followed in order to buy the needed materials or costumes. The costume shop manager will supervise the staff when making costumes if there is a staff. Sometimes the costume shop manager is the person that makes the costumes. The costume shop manager will also talk to either the director or the stage manager (if the director has assigned the stage manager this duty) to schedule costume fittings for the cast members.

The costume shop manager will make sure that actors properly store their costumes - the full costume and any costume pieces or personal props that go with costumes - in the correct way. If costumes are not stored correctly, the costume shop manager will put them away after the actors have left the dressing room. When a production is finished, the costume shop manager will make sure to store all costumes properly if the theatre wants to keep them. If the theatre does not want to keep the costumes, it is likely that the costume shop manager will ask actors if they want their costumes and then find out if any other area theatres would like the costumes that were not taken by the actors.

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Actor - Jobs in the Theatre - Part 16

An actor (or actress) is a person who performs in plays and other live productions. These can be cabaret shows, dinner theatre, revues, and skits among others. Sometimes these shows go on tour and the actors may be in the touring shows. Actors are responsible for making an audience feel like the characters they are portraying are real people and not just characters.

In order to make sure that the characters are perceived as real, an actor must constantly learn different techniques. An actor must be able to use his voice in different ways. Not all actors can manipulate their voices in a wide range or do accents, but it is good when an actor can do those things. An actor must also be able to adopt different physical attributions and gestures.

An actor in live theatre will also be able to use his facial expressions and gestures in order to show reactions. This can be extremely important as there are times that reactions must be shown to the audience, especially when a play breaks the fourth wall. The duties of an actor are to be at rehearsals, be at performances, learn lines, learn blocking, follow the instructions of the director, and help in ways that they are asked to help. An actor should never try to direct other actors. It is different to ask the director for input or even to simply discuss things with other actors when not in rehearsal. If an actor has "free time" during rehearsal, work such as running lines with other actors should be done.

It is important that an actor realizes he is not at the top of the theatre hierarchy. He is one of the lowest people when it comes to theatre hierarchy. Depending on the theatre, he may be the lowest or there may be some other crew members that are actually below actors. While a higher education is not needed to become an actor, much can be learned about acting if a higher education in acting or general theatre is earned. Sometimes live theatre actors go on to act in television and movies or to play characters in theme parks.

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Scenic Charge - Jobs in the Theatre - Part 15

The Scenic Charge may also be known as the Charge Scenic Artist, the Scenic Charge Artist, or the Scenic Artist. The scenic charge works closely with the technical director in order to accomplish the vision of the designers and the directors. This often means replicating the real world unless there is a different vision.

The scenic charge is essentially a painter. He or she will first meet with the designers in order to interpret the models for the colors and textures wanted for backdrops and set pieces. An important question often asked is,"Do I have to interpret your models literally?" In some theatres, it matters that models are interpreted exactly. In other theatres, the scenic charge has more creative control over set design.

Once these things are known, the scenic charge will create numerous samples for each element that needs painting and texture. Once this is done, a detailed operating procedure, often known as a recipe, is written so other designers can follow the exact steps to get the same effect for the set. The scenic charge also supervises the crew of scenic artists.

It is likely that the scenic charge will also be the one that must devise a budget related to painting the set including the materials and labor needed. Because of this, the scenic charge may also be the person responsible for buying paints and other materials for color and texture. It is the responsibility of whoever shops for these items to find the ones that have the best quality for the cheapest price.

The scenic charge is also responsible for creating a touch-up kit in case the set needs to be fixed. After painting is done, the scenic charge is responsible for making sure the entire paint area is cleaned properly. This may be done by supervising crew or as a single person.

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Box Office Manager - Jobs in the Theatre - Part 14

The box office manager (sometimes called the treasurer) is the person who is responsible for the sales of tickets, accounting of the money from ticket sales, customer service, and the supervision of the box office staff. If the position is in a professional theatre, the box office manager may be in charge of hiring box office staff and then conducting performance evaluations of the box office employees.

Whether there is a staff or only volunteers, the box office manager is the person that is in charge in training all box office staff in the proper procedures. He or she will make sure that all people who work in the box office are properly trained in how to use the ticket system, be it manual or automated. He or she will also make sure they know the proper procedure and policies for refunds and exchanges. These policies are establish by the box office manager with approval from any managers in the theatre that are above the box office manager.

The box office manager is the person who is ultimately responsible for all ticket sales. He or she will ensure the security of money being exchanged when tickets are bought or, if allowed by theatre policy, returned. When a show is touring or being held at a venue that is not a constant home, the box office manager coordinates with the venue owner and production staff to determine prices for tickets.

The box office manager will also determine box office hours and establish schedules for the workers in the box office. Then, after each performance, the box office manager reports the house count (the number of tickets sold) to the house manager (or whoever is specified to receive this report). This helps to make sure that none of the performances have been oversold.

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Technical Director - Jobs in the Theatre - Part 13

The technical director is the person that supervises all of the technicians and craftspersons that are involved with a show. This person has an extremely important job during rehearsals, during the show, and after the show.

During the rehearsal period, the technical director will evaluate and the drawings and models of the designer. If he or she feels that the technical and design crews can manage this design, both of them consult with the director. Once a final decision is made, the technical director makes the necessary purchases in order to carry out the design.

The technical director also draws up drafts and may be in charge of selecting the tech and lighting crews. He or she will come up with the schedules for set building and be certain to supervise all set building and clean up done after set building. He or she also runs technical rehearsal if the director is okay with that. However, all aesthetic decisions are given to the correct designer. The technical director carries out the wishes of the designers (who ultimately carry out the wishes of the director).

During the performance, the technical director gives the stage manager the "go" signal for when all technical and lighting crew are ready to start the show. He or she is also responsible for all of the backstage crew and will be present at performance in case anything goes wrong with the design or if there is an emergency.

After the performance, the technical director will supervise all dismantling of the set. He or she will make sure that the strike of the set goes safely. Then, he or she will also make sure that the area where the strike happened in thoroughly cleaned. The technical director will also be certain to be present at the post mortem (post show evaluation) in order to give input about how the set building went and if it stayed stable during the performances.

Update: The information I have provided in this blog post comes from current job position descriptions in theatres and college theatres. However, there are some people that say that the technical director is not in charge of supervising others. However, he or she is still in charge of drafting and building the set.

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Broadway Bricks!

Today, I am having to take a break from the Jobs in the Theatre series because I got caught in some bad weather while traveling. I thought I would be back home, but that did not happen, so instead, I am in hotel without any of my information. Due to that, I am going to share some of my favorites from the Broadway Bricks series on Twitter.

I know that simply setting up Legos in a row is easy. However, these Legos are also painted like the characters in the show would look. Painting these figures takes dedication!

Waitress (on tour)

Moulin Rouge

Legally Blonde: The Musical

Spongebob: The Musical

Hamilton

View more great designs at Broadway Brick on Twitter.

Stage Manager - Jobs in the Theatre - Part 12

The stage manager is the person who assists the director and supervises rehearsals. Assisting the director is done by making sure to have a stage manager's kit in order to help the actors if there are any injuries or emergencies. The kit may also hold helpful items for rehearsals such as books to understand the language of the play if necessary.

The stage manager may have to make a special copy of a script in order to make a prompt book or one might be ordered for the stage manager. The prompt book will definitely contain all the stage directions for the actors and it will also contain the calls for lighting and sound cues. The stage manager is in charge of keeping the prompt book and bringing it to rehearsal in order to remind actors of where they are supposed to be and even to remind the director of the stage directions that he or she gave the actors. The stage manager must be ready to change the stage directions if the director decides that he or she likes different movement, especially if the performance space has changed from the rehearsal space.

It is also likely that the prompt book will contain a diagram of the stage and the set. There may be copies of this on the back of each page and movements may by each character might be marked in a different color for each character. Not all stage managers do this, but some do and it helps to keep everything organized for the production. There may also be charts of what characters are in what scenes so both the stage manager and director know who needs to be at rehearsal. It is the stage manager's responsibility to contact every member that needs to be at rehearsal if they are not there by around 15 minutes before call time, or earlier if specified by the director. Thus, it is important to create a contact sheet that has names and phone numbers in order to contact all people in the production.

The stage manager's kit will include band aids of all sizes, neosporin, perhaps another type of ointment, and if the play is being performed outside, it may even contain bug repellent and sunscreen. It is also likely that the stage manager's kit will contain aspirin, Advil, Pepto Bismol, and Immodium. Then, while it can be embarrassing, it is also likely that the stage manager's kit will include feminine sanitary pads and tampons. It is important that the stage manager be ready for any emergency that might arise with any of the actors.

Once rehearsals are going well and the stage manager has recorded all the blocking and other stage directions that he or she will rehearse replacement casts or understudies. Once rehearsals are completely over and the production begins, the production is completely in the hands of the stage manager. It is no longer the director's responsibility to ensure things go smoothly.

Being that the stage manager creates the script with all of the blocking and stage directions, once a production is over a stage manager may work with a publishing company. The reason for this is to come up with a version of the performance script that others can buy. This is especially true when it comes to new Broadway shows.

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Choreographer - Jobs in the Theatre - Part 11

A choreographer is the person responsible for creating and teaching dance and other stylized movement to actors on the stage. It is important that a choreographer be able to teach and communicate well because actors have to learn from this person.

The choreographer will also read and understand the play. That way movements and dances will match with the story. Then, it is important that the choreographer works closely with all of the design teams including lighting, costumes, and set because the movements for actors have to work with what they are wearing and what they are near. Then, there are times that lighting may need to match certain sound or musical cues.

The choreographer will also work extremely closely with the director. It is important that the choreographer understand the director's vision for the play. If the performance is purely dance or stylized movement, the director may give the duty of directing to the choreographer. It is also important that the choreographer know how to create new dances by being familiar with different types of dance styles and dance moves. This is because dances from Broadway are copyrighted and if other productions want to claim a copyright on dance moves, they can.

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Music Director - Jobs in the Theatre - Part 10

The music director is the person that oversees all aspects of a theatrical production that involve music. This music can be live or recorded. It may be a combination of both things as well. The music director may be in charge of all live music or he or she may be in charge of overseeing others such as conductors and directors hired to be in charge of music.

The music director will read a play and understand how the music in it helps to serve the show. He or she will understand how it brings out emotions, helps the characters, and enhances the story telling. The musial director will make sure to be present, unless otherwise stated, or the casting and possible hiring of singers, orchestra members, and other musicians.

Once members are cast or hired as actors and musicians, the musial director may be in charge of teaching music to everybody. At the least, the musical director will make sure that all people are being taught music by the appropriate people delegated to that task. If teaching the music, it is like that the musical director will lead warm ups. The musical director, if not directly teaching and leading rehearsals, should be sure to attend at least a few of the musical rehearsals.

Once the play is coming together as a whole, the musical director will work closely with the sound designers in order to figure out where recorded sounds and music happen in the show if they are there. The sound designer may not be needed if live music is the only thing used. However, a sound designer will be an important part of the music director's team any time even the slightest recorded sound is used in a production. This can be even the pre-show and intermission music.

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Dramaturg - Jobs in the Theatre - Part 9

People often think that a dramaturg is only responsible for historical research and bringing that into the theatre. However, the dramaturg does much more than only historical research. The dramaturg usually talks mainly to the director, but will work closely with every person or team in the theatre.

Some people call the dramaturg the glue that holds everything together. It is like all of the other people - the director, the designers, the actors, and others who work on the production are pieces of paper that need to be held together and the dramaturg is the glue that holds them all together. Others prefer to compare the dramaturg and the rest of the team to weaving terms. All the other people are the warp, so the strands go vertically up and down. They can't be held together without the weft. The weft is the yarn or material that goes left and right to weave the material together. Of course, ultimately, it depends on what the director wants the dramaturg to do.

Check out posts from the earlier series: Examples of What Dramaturgs Do:

• Part 1 - Countertext
• Part 2 - Educational Packets
• Part 3 -Actor Packets
• Part 4A - Media Packets - Presses Releases
• Part 4B - Media Packets - Program Notes
• Part 4C - Media Packets - Talkback Guides
• Part 5 - Production Packets
• Part 6 - Designer Packets
• Part 7 - Sitting in on Rehearsals
• Pre-rehearsal Presentations

So, the dramaturg does do historical research. However, other research such as looking into possible lighting ideas to give to the director and lighting designer are a possible thing she may do. She may write a study guide for the play being produced. She may write publicity to send to schools and community members. She may work on organizing talkbacks.

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