Curtain Call - Theatre Etymology - Part 10

A curtain call is the time the cast of a show comes out after the curtain closes (if it does) and then reopens at the end of the show. It seems that curtain calls became popular in the 1800s. There is no exact date recorded for the first curtain call or how they were introduced into theatre. By 1839, Charles Dickens had written a scene in Nicholas Nickleby that described an audience as "calling" for the actress Miss Snevillicci to come out after a successful show. Even though it is not certain when curtain calls became popular, it is thought that theatre always had rituals for the end of the show.

The reason for the term "curtain call" seems fairly obvious. One might ask why it is not a "curtain cue" if thinking it comes from "calling the cues" and calling a cue for the last curtain. However, cues aren't always called for a curtain as they often operated by backstage crew who follow a script and are among the actors. Also, the call seem to be, as suggested above, a calling from the audience to the actors. As for the words themselves, c curtain comes from the Old French word "cortine" which comes from the Late Latin "corina" meaning a round vessel or curtain comes from the Latin word "cortem" meaning an enclosure or a courtyard. Call comes from the last Middle English word "callen" which probably came from the Old Norse word "kalla" meaning to call out. It is thought hat this may have been confused with or mixed with the Old English (West Saxon) word "ceallian" meaning to shout. It is also possible that the word call came from the Middle Dutch word "kallen" meaning to talk or the Old High German word "kallôn" meaning to shout.

Today, curtain calls often consist of actors coming out and giving a bow or a curtsy as the audience claps and cheers. The reason for a curtain call seems to be two fold. Some actors love getting praise and affirmation that they did a good job and a curtain call allows for that. It also seems that, in general, audiences love to go crazy. A curtain call allows an audience to go crazy with congratulatory sounds and actions for actors. However, some actors hate curtain calls and will try to leave as soon as possible.

There was a time when curtain calls were more elaborate. The curtain call for a musical may have been a musical number at the end of the show and then the actors would turn to the audience and bow. At times, this type of thing still happens in the theatre, but it is not as common. For a straight play, each actor may have come out and given a bow or a curtsy separately if the cast was not too large.

It is also important for actors to rehearse the curtain call. It might be odd performing a curtain call in front of an empty house, but it is necessary to know how a curtain call is going to go rather than tripping over other actors in an impromptu one. Rehearsing a curtain call can also allow a director to let a cast known when he or she is pleased. The curtain call can be rehearsed and the director may want to go directly into giving notes afterwards. However, when a play is rehearsed with a curtain call and the director claps, that probably means that he or she is pleased with the performance. However, this does not mean there will not still be notes taken. This simply means that the director was pleased and there still may be more to fix in the play.

Another thing that a curtain call does is allow the audience to see the actors for themselves. The actors may come out as their characters, but they do not have to stay in character for the curtain call. The audience can watch how the actors interact with each other at this time. Actors can also decide on if they are going to bow or curtsy and their arm movements. If actors are coming out in sets or pairs, do they hold hands? It is also customary to acknowledge the technical operators and/or the orchestra after the initial bows. At times, if these positions are paid, they may not be acknowledged if the actors are not paid as the paycheck is seen as their reward. However, they are often acknowledge for the work, even if they are paid. This way the entire cast and crew feels like they did a great job.

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In the Round - Theatre Etymology - Part 9

Theatre in the round is a style of theatre where the audience surrounds the stage where the actors perform on three or four sides. The stage is usually either lower than the audience or on the same level as the audience. In rare cases, the acting area is actually raised above the audience. Some theatres are purposely built in the style of in the round. At other times, a theatre may be a proscenium stage or a black box and the audience's sitting area is made by putting chairs around the acting area.

Theatre in the round was common in ancient Greek theatre. This is because of the landscape. The audience's seats would be on the rising area of hills and the acting area would be on the low parts between them. Theatre in the round grew out of fashion until the medieval era, but by the 17th century, it grew out of fashion again and a proscenium stage was preferred.

The etymology is fairly simple. It is literally theatre that is performed in a circle of audience members. The audience members are around the actors, thus the theatre is in the "round." The word theatre seems to come from the Latin word theātrum which seems to come from the Greek word théātron, meaning seeing place. Then round seems to come from the Old French stem ront or reont which seems to have come from the Latin rotundus.

Around the time of World War I, theatre in the round started becoming popular again. It was appearing in colleges in the United States. In 1924, Gilmore Brown founded the theatre company Fair-Oaks Playbox in Pasadena, California. Then in 1930, Nikolay Pavlovich Okhlopkov founded the Realistic Theater company. It started to work in the style of theatre in the round because the stage designers did not like the limitations of the proscenium stage. In 1940, the first purpose built theatre for theatre in the round appeared in Seattle Washington.

In 1955, the Studio Theatre company was the first known to work in the theatre in the round style in the United Kingdom. They first performed in the Library Theatre in Scarborough during the summers. During the winters, they would tour to towns without theatres. They had a temporary home in the Civic Hall of Newcastle-under-Lyme. However, the dream of a purpose built theatre for theatre in the round would not come to fruition until 1986, when the New Vic Theatre was built in Newcastle-under-Lyme.

There still are not many purpose built theatres for theatre in the round. However, the style if often chosen when a director or a theatre company wants to give a more intimate feel for a performance. This is because it will often result in a smaller audience around the actors, allowing them to address different audience members or different areas of the audience. However, sometimes, in a purpose built theatre for theatre in the round, the audience can often be bigger and more spread out than one that is found in a typical proscenium arch theatre. The difficulty for actors can be that they are trained in a proscenium arch theatre and taught not to turn their backs to the audience, but in theatre in the round, somebody is always going to be seeing the actors' backs.

Theatre in the round is also known as central stage, arena stage, or island stage. Theatre in the round is also seen hyphenated as theatre-in-the-round. In the round can also be used to describe an art form. This basically means a statue as it is not a flat painting or a relief, but a sculpture that can be seen from all 360 degree around it and is in the open air.

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Footloose and Fancy Free - Theatre Etymology - Part 8

Many people associate the phrase footloose and fancy free with dancing. This is most likely because of the 1984 movie, Footloose. Sometimes, it is also associated with the theatre. It tends to mean to be free of any commitments and to be able to move about as one pleases.

Part of the phrase does originate with theatre, but the other part does not. The phrase fancy free comes from the theatre. It seems that it was first used by Shakespeare in his 1598 play, A Midsummer Night's Dream. When Shakespeare used the phrase, it meant to be free of any romantic or amorous thoughts or commitments. This was because in Tudor England, fancy meant an amorous inclination. Oberon states, "But I might see young cupid's fiery shaft / Quench'd in the chaste beams of the watery moon, / And the imperial votaress passed on, / In maiden meditation, fancy free."

However, it is debated if footloose comes from sailing terms or from terms used in law. There don't seem to be years related to when the term would be used with sailing. However, the story for the origin of the word footloose with sailing states that the bottom of the main sail, the foot, was always tied to the base, or the foot, of a boom in order to keep it from flapping in the wind. At times, there were reasons for a main sail not being tied to a boom, especially if the shape were not to be kept the same. At other times, the bottoms of smaller sails were not tied to a boom. It is thought that these sails were said to be footloose.

The idea of the word footloose coming from the law has a stronger basis. It is thought that the word has been used to mean free to act as one pleases as early as the 17th century. Online dictionaries state that the word was first used sometime between 1650 and 1700, but give no sources.

It is known that on January 16, 1834, the Indianapolis Journal reported on a case about a financier and it said, "The Senate declared this connection unlawful, and immediately divorced this great financier from the revenue bill, sent the bill back to the House without its defilement, leaving the great financier again foot loose in the world."

It is thought that the two phrases (or word and phrase) were put together simply because the alliteration sounded good. Different sites give what they think was the first usage. The earliest seems to be from the Wednesday, March 20, 1867 edition of the Nashville, Tennessee periodical, Republican Banner. The part of the story that used the phrase read, "The people of Tennessee hate, loathe and spurn all professional slanderers as they hate, loathe and spurn all political corruptionists, shoulderstrikers, mobbists, incendiaries, [sic] civil government in our midst, and we want the aid of no extremists, North or South. We are the ally of no party hostile to the Government or the Congress. We are foot-loose and fancy-ree [sic], bound at the wrist by no entangling alliances. We shall make a plain Republican effort here for a plain Republican fabric - and we shall GO IT ALONE."

The next time the phrase appeared seems to be in the Louisville, Kentucky newspaper, The Courier-Journal, from Sunday and Monday, Gust 29 and 30, 1869 when it said that the Democratic party was "foot-loose and fancy free, with the whole country pick and choose from." The phrase also appeared in a January 1877 edition of the Daily Arkansas Gazette that said "Footloose, fancy free, but of marriageable age" and the October 19, 1882 edition of the Jackson Sentinel from Maquoketa, Iowa that said, "All of which, fellow citizen, means that the people are footloose and fancy free."

Even though only part of the phrase originated in the theatre, with the current meaning of the phrase, footloose and fancy free, being that a person is free from commitments and able to do what he or she wants, it makes perfect sense to be in a theatre. Sometimes, even though actors actors are extremely dedicated to the productions, they seem to have a freedom that others do not. The phrase could also be one that a person gives a theatre when starting to work with the theatre because they will need the time to work with the theatre and will need to be free of other commitments and to move about the theatre as needed.

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Ghost Light - Theatre Etymology - Part 7

In the theatre,a ghost light is not a luminescent plant or fungus. It is a light that is left on after everybody has left the theatre and it stays on the whole time when people are not there until lights in the theatre are operating again. Before electricity was mainstream, ghost lights in theatres were gas lamps. Every theatre had their own gas generator. It was required that a flame continued burning because it would prevent pressure from building up in the gas lines which meant that the theatre would not explode. The ghost light, in current times, is usually an electric light. It tends to be a bulb on a long stand. Sometimes the bulb has a wire cage around it. The stand is then usually placed center stage or down center on the stage.

There is a practical reason for the ghost light. Having a ghost light lets anybody who may legally or illegally enter the theatre see. This way a person does not step on any scenery, costumes, or props that may be where the person walks. It also makes sure that a person does not fall into the orchestra pit if there is one.

However, being that theatre people are superstitious, a ghost light is also placed on the stage in order to appease theatre ghosts. The exact reason they need appeasement can be different. Some people think that if a light is not provided for the ghosts, that they will ruin the production. Others think that the ghosts desire to act on the stage when the theatre is empty and having a ghost light allows them to do this. Others think that the ghosts simply want the light so that they feel like they are welcome in the theatre.

The story that seems to be the most associated with the beginning of the use of a ghost light is that a burglar once broke into a theatre before ghost lights were used. He fell off the stage into the orchestra pit and even though he was not supposed to be in the theatre, he still sued the company.

Ghosts are still known to appear in theatres today. At the Palace Theatre on Broadway, Judy Garland still appears. Workers at the theatre report that set pieces randomly move and that items randomly disappear and appear in different places. At the Tampa Theatre, the ghost there is one of a person who was a projectionists. Multiple people who have worked as a projectionist at the theatre report chills, cold winds, and doors randomly opening.

The ghost light is also known as the Equity Light or Equity Lamp. It is thought that this is because leaving a light out and on was a requirement by Actors Equity, though it seems that nobody can find this rule. However, there are currently rules from OSHA that require lights to be on in a theatre. Sometimes ghost lights aren't the traditional bulb on a stand. The New Amsterdam Theater in New York has lights (in the grid) that basically stay on all the time due to OSHA's rules for the type of building. However, they still function in the same way as a ghost light. The lights are said to appease Olive Thomas, the ghost of a former Ziegfeld show girl.

Ghost lights are so well known in the theatre that "ghost light" has even become parts of the names of theatres and theatrical troupes. Examples are the Seattle theatre company known as Ghost Light Theatricals and Ghost Light Theatre in North Towanda, NY. Even Mandy Patinkin and Patti LuPone have incorporated the ghost light into their duet show because of how well the ghost light is known in the theatre.

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The Scottish Play - Theatre Etymology - Part 6

In theatre, many people will say "The Scottish Play" rather than saying "Macbeth." (Yes, this is the play Macbeth by William Shakespeare.) There are people who are extremely superstitious and believe that the play is cursed, thus saying the name at all is bad luck. There are others who believe that saying the name of the play is only bad luck when in a theatre (including the house [audience], dressing rooms, green rooms, and lobby) or dealing with theatre business (preparing for a show by meeting with designers and technicians, in a gathering about theatre, or teaching theatre). Then there are those who don't believe in the curse and thus will say "Macbeth" when among each other, but out of respect for people who believe in the curse, will say "the Scottish play" when among them.

It is thought that when "Macbeth" is said, that something is going to go wrong, especially during the production of a play if it is said during a rehearsal or performance. This can be something as minor as a tiny prop breaking or major such as an actor receiving a major injury. The origins of this superstition are not known, however there are plenty of anecdotes about things that have gone wrong during performances of Macbeth that make people think the play is cursed.

The theory that William Shakespeare had to replace the actor who played Lady Macbeth in the very first production is not true. It is known that Maximilian Beerbohm, an English parodist, created this story for a theatrical review published in the October 1, 1898 edition of the London publication, The Saturday Review of Politics, Literature, Science and Art.

In 1937, many disasters happened during a performance run of Macbeth at the Old Vic Theatre. The director, Michael Saint-Denis barely escaped death when he was involved in a taxi accident. Darius Milhaud kept tearing up pages of his music because he was not happy with his musical score. Opening night was postponed when Lilian Baylis was sent into major depression after her favorite dog died. Baylis then died one day before the show's postponed opening. A falling sandbag nearly hit Laurence Olivier on the head and Olivier kept wounding many of the actors who played Macduff because of his passionate acting that would truly wound them in the final battle scene.

In 1849, during a production of Macbeth in New York, the American actor Edwin Forrest and the English actor, William Charles Macready, who both played Macbeth in opposing productions had a rivalry that caused a riot at Astor Place. This resulted in at least 20 deaths and more than 100 injuries. .

In 1953, the stage caught on fire during an open air production in which Charles Heston starred. This happened because it was meant for Macbeth's castle to be burned on stage, but the wind blew the fire in unexpected directions. This included blowing it into the audience, which ran away. Heston also suffered from leg and groin burns as for some reason, his tights had accidentally been soaked in kerosene.

Saying "Macbeth" has even migrated into film production. During the 2018 taping of Hereditary writer and director Ari Aster said "Macbeth" after the actor Alex Wolff told him that "Macbeth" shouldn't be said. During the shooting of the scene after Aster said "Macbeth," one of the lights burst.

There are superstitions that have to do with breaking the curse. Many of them involve going outside of the theatre, spinning around three times and spitting. This can be accompanied by having to say something such as a swear word or a line from another Shakespeare play. Sir Patrick Stewart says that the only thing needed to undo the curse of anybody saying "Macbeth" in the theatre is to say any quote from A Midsummer Night's Dream.

You can watch him speak about it here:


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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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