The Theater Team: Who Does What During a Production

A theater production is a coordinated team effort. Each role has a defined set of responsibilities, specific “deliverables” (paperwork, plans, builds, cues), and a communication pathway. As a beginner, your experience improves dramatically when you know (1) who to ask, (2) what information to provide, and (3) who should hear about a problem first.

How to Read the Team Structure (and Avoid Confusion)

Most productions organize communication like this: Artistic leadership shapes the storytelling; stage management runs the rehearsal room and performance communication; design and technical departments create and maintain the physical and technical world; production/operations manage resources and logistics; running crew executes the show live. A common beginner mistake is skipping the chain of communication (e.g., asking the lighting designer to fix a backstage headset). When in doubt, start with the stage manager.

Artistic Leadership

Director

• Main tasks: Interprets the script, sets the overall concept, blocks scenes (where actors move), guides performances, coordinates with designers so all elements support the story.
• Delivers: Blocking notes (often captured by stage management), rehearsal goals, staging decisions, feedback notes to actors and departments.
• Reports to: Often to the producer (or artistic director in some organizations). Collaborates closely with stage manager and designers.
• How beginners interact: Actors receive notes and direction; crew and designers may attend production meetings where the director clarifies intent. Beginners should bring questions about storytelling/character choices to the director (usually through rehearsal etiquette—ask at appropriate times).

Choreographer

• Main tasks: Creates and teaches movement and dance; ensures movement supports character and story; sets spacing and safety for lifts/partnering; coordinates with costumes and set for mobility.
• Delivers: Choreography, counts, spacing patterns; sometimes written counts or video reference (if allowed); notes for clean-up rehearsals.
• Reports to: Typically to the director/producer; works with stage manager for scheduling and documentation.
• How beginners interact: Performers learn choreography and ask for clarification on counts, spacing, and safety. Crew may coordinate floor markings (tape) with stage management to preserve choreography spacing.

Music Director (MD)

• Main tasks: Teaches vocal music, sets tempos/keys, leads musicians (if any), coaches harmonies, maintains musical consistency, coordinates with sound for vocal needs.
• Delivers: Vocal parts, rehearsal tracks (when applicable), tempo decisions, music rehearsal notes; may provide marked scores.
• Reports to: Typically to the director/producer; collaborates with stage manager and sound.
• How beginners interact: Performers ask about notes, rhythms, entrances, and vocal health accommodations. Beginners should communicate conflicts early because music calls are often tightly scheduled.

Stage Management

Stage Manager (SM)

• Main tasks: Runs rehearsals, keeps time, tracks blocking, maintains the prompt book, communicates notes to departments, calls cues during performances, enforces safety and consistency.
• Delivers: Rehearsal reports, performance reports, callboard info, schedules, contact sheets, the prompt book (script with cues and notes), sign-in sheets, scene shift paperwork (varies by production).
• Reports to: Often to the producer/production manager; works as the central hub between director, cast, and departments.
• How beginners interact: Actors check in, report absences/illness, ask schedule questions, and report problems (missing props, costume issues, unsafe conditions). Crew uses SM as the communication hub during the run.

Assistant Stage Managers (ASMs)

• Main tasks: Support the SM; track backstage traffic, props, quick changes, and scene shifts; help run rehearsals; sometimes cue backstage actions.
• Delivers: Backstage tracking sheets, preset checklists, shift plots (in some processes), notes on prop/costume/traffic issues.
• Reports to: Stage manager.
• How beginners interact: Actors often work with ASMs for props handoffs, entrances/exits, and quick-change support. If you’re unsure where a prop lives, the ASM is often the fastest route to an answer.

Performers

Actors

• Main tasks: Learn lines, blocking, and character work; attend rehearsals; maintain performance consistency; follow safety and backstage protocols.
• Delivers: Prepared scenes, memorization, character choices, and performance notes applied; sometimes personal tracking (line notes, costume notes).
• Reports to: Artistically to the director; operationally (calls, schedules, backstage rules) to stage management.
• How beginners interact: Beginners should learn who to tell about issues: schedule/attendance to SM; costume fit to wardrobe/costume shop via SM/ASM; props needs to props via SM/ASM.

Understudies / Swings

• Main tasks: Learn one or more roles to cover absences; maintain readiness; attend specific rehearsals and put-ins; track staging and changes.
• Delivers: Coverage readiness, notes on role changes, sometimes personal “track sheets” for entrances/costumes/props.
• Reports to: Director for performance; stage management for scheduling and put-in procedures.
• How beginners interact: Cast should communicate changes that affect coverage (new prop business, altered blocking) so understudies/swings can update their tracking.

Design Departments

Scenic Designer (Set Designer)

• Main tasks: Designs the physical environment (walls, platforms, furniture, textures); ensures the set supports staging, safety, and scene changes.
• Delivers: Ground plan, elevations, renderings, paint elevations, scenic details; sometimes a model or 3D files.
• Reports to: Producer/production manager (varies); collaborates with director and technical director.
• How beginners interact: Actors should not modify set pieces; report wobble/safety issues to SM/crew. If a doorway is too tight for a costume, that becomes a coordinated note through SM to scenic/costume.

Costume Designer

• Main tasks: Designs clothing that supports character, period/style, movement needs, and quick changes; coordinates with lighting and scenic colors.
• Delivers: Costume renderings, costume plots (who wears what when), fittings plan, sometimes fabric swatches and build notes.
• Reports to: Producer/production manager; collaborates with director and wardrobe supervisor.
• How beginners interact: Performers attend fittings, communicate mobility needs (kneeling, dancing), and report issues early (pinching shoes, tearing seams) to wardrobe/SM rather than “fixing” items themselves.

Lighting Designer (LD)

• Main tasks: Designs how light shapes focus, mood, time of day, and visibility; coordinates with scenic and costumes; works with electrics crew to implement.
• Delivers: Light plot, channel hookup, instrument schedule, magic sheet, cue list; works with programmer to build cues.
• Reports to: Producer/production manager; collaborates with director and technical director/master electrician.
• How beginners interact: Actors learn to “find their light” (hit marks) and report visibility issues through SM. Beginners should not request “more light on me” directly to the LD mid-run; report the problem to SM.

Sound Designer

• Main tasks: Designs reinforcement (mics/speakers), playback (SFX/music), and the overall sonic experience; coordinates with MD and director; ensures intelligibility.
• Delivers: Sound plot, mic list, speaker layout, cue list, playback files, mixing notes; sometimes RF coordination paperwork.
• Reports to: Producer/production manager; collaborates with audio engineer/A2 and stage management.
• How beginners interact: Performers learn mic etiquette (where to place packs, avoid tapping capsules) and report crackles/dropouts to SM or A2 immediately.

Props Master (Properties)

• Main tasks: Sources, builds, and maintains hand props and set dressing; tracks who uses what and when; ensures safety (breakaways, weapons protocols if applicable).
• Delivers: Props list, props tracking/preset sheets, rehearsal props, finished props, maintenance plan.
• Reports to: Production manager/technical director (varies); collaborates with SM/ASMs for presets and handoffs.
• How beginners interact: Actors should request props early and practice with rehearsal substitutes if needed. Never add personal props without approval; tell SM/ASM what you need, when you need it, and how you use it.

Production / Operations

Producer

• Main tasks: Oversees the project at a high level: budget, hiring, rights/permissions (when applicable), schedules, venue coordination, and overall accountability.
• Delivers: Contracts/agreements, budget approvals, production calendar, staffing decisions.
• Reports to: In some settings, a board or organization leadership; otherwise the producer is the top operational authority.
• How beginners interact: Usually indirectly. Beginners might interact for administrative needs (paperwork, stipends, access) but should route day-to-day show issues through stage management.

Production Manager (PM)

• Main tasks: Turns artistic plans into workable logistics: schedules builds/installs, coordinates departments, manages resources, tracks deadlines, and solves cross-department problems.
• Delivers: Production schedules, meeting agendas, budget tracking (depending on scope), department coordination notes.
• Reports to: Producer.
• How beginners interact: Crew heads and designers interact frequently. Beginners may meet the PM during load-in or when a problem affects schedule/safety (often via SM or department head).

Technical Director (TD)

• Main tasks: Engineers and builds the scenic design; plans construction methods; oversees shop work, load-in, rigging needs (when applicable), and technical safety.
• Delivers: Construction drawings, build plans, materials lists, load-in plans, risk/safety procedures.
• Reports to: Production manager/producer (varies).
• How beginners interact: Usually through crew calls. Beginners should report broken scenery, unsafe stairs/rails, or stuck wagons to the running crew/SM, who escalates to TD as needed.

Running Crew (During Performances)

Deck Crew (Stagehands / Deck)

• Main tasks: Executes scene shifts, moves scenery/furniture, manages deck safety, and supports backstage traffic.
• Delivers: Shift checklists, spike marks maintained, preset completion, consistent scene changes.
• Reports to: Often to the stage manager during the show; administratively to TD/crew chief (varies).
• How beginners interact: Actors coordinate entrances/exits and avoid moving spike marks. If something is in your way, tell the ASM or deck crew chief—don’t “fix” it silently.

Fly Crew (Rigging / Fly Rail)

• Main tasks: Operates flown scenery/curtains; ensures safe timing and clearances; communicates “heads up” calls.
• Delivers: Fly cue execution, line set checks, safe operation logs (in some venues).
• Reports to: Stage manager during the show; administratively to TD/head rigger (varies).
• How beginners interact: Performers must respect clearance zones and listen for calls. If a flown piece is drifting or noisy, report to SM immediately.

Wardrobe Crew (Dressers / Wardrobe Supervisor)

• Main tasks: Maintains costumes during the run, manages laundry/repairs, runs quick changes, tracks costume presets and accessories.
• Delivers: Costume preset lists, quick-change plans, maintenance/repair notes, run paperwork (varies).
• Reports to: Stage manager during the show for timing; administratively to costume shop/costume designer (varies).
• How beginners interact: Actors learn quick-change choreography (where to go, what to remove first) and report missing pieces immediately. Never take costume items off-site without permission.

Audio Crew (A1 / A2)

• Main tasks: A1 mixes the show and runs playback; A2 manages backstage mic packs, swaps batteries, places mics, and troubleshoots RF issues.
• Delivers: Mic check routines, battery logs, mic assignment sheets, consistent levels, cue execution.
• Reports to: Stage manager during the show; administratively to sound designer/PM (varies).
• How beginners interact: Performers follow mic placement rules and report issues quickly. If your mic is dead, tell the nearest ASM or A2—don’t wait until you’re onstage.

Followspot Operators

• Main tasks: Operate spotlights to track performers; maintain focus, size, and intensity; follow cue timing precisely.
• Delivers: Accurate pickup and tracking, consistent beam quality, cue execution.
• Reports to: Stage manager during the show; often supervised by lighting crew head.
• How beginners interact: Actors may receive notes like “hold that mark for the pickup.” If you’re consistently losing the spot, report to SM so lighting can adjust cues or marks.

Quick Reference Table: Who Does What?

How Collaboration Usually Works (Practical Step-by-Step)

Step 1: Identify the type of issue

• Artistic note: performance, storytelling, pacing (director/MD/choreographer).
• Operational note: schedule, safety, backstage traffic (SM/ASM).
• Technical note: props, costume, sound, lighting, scenery (department + SM).

Step 2: Use the correct first contact

For beginners, the safest default is: tell the SM/ASM. They will route it to the right department and track that it gets solved.

Step 3: Give actionable information

• Where: “Upstage right table,” “SL wing,” “dressing room rack B.”
• When: “Before Act 1 Scene 3,” “during the transition into the ball scene.”
• What: “The letter prop is missing,” “mic pack won’t power on,” “zipper stuck.”
• Impact: “I can’t complete the business,” “I miss my entrance,” “it’s a safety hazard.”

Step 4: Let the team fix it—don’t create a second problem

• Don’t borrow props from other scenes without approval.
• Don’t tape or pin costumes unless wardrobe instructs you.
• Don’t adjust mic settings unless audio tells you to.
• Do follow the SM’s instructions, even if the fix is temporary.

Scenario-Based Communication Map (Who Gets Involved and the Chain)

Scenario A: An actor needs a prop (it’s missing or wrong)

Situation: You enter in 2 minutes and your notebook prop is not on the preset table.

Actor → ASM (or SM) → Props (or deck crew if they preset) → ASM/SM → Actor

• Actor does: Tell ASM exactly which prop, which scene, and where it should be. Stay available for a fast handoff.
• ASM does: Confirms whether it was preset, checks the prop table, and radios props/deck.
• Props/deck does: Finds the prop or provides an approved substitute; updates preset checklist so it doesn’t repeat.
• Common beginner interaction: You may be asked, “Can you do the scene without it?” Answer honestly; the director may later adjust staging if the prop is consistently problematic.

Scenario B: A microphone fails mid-show

Situation: Your mic cuts out during a scene.

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Actor (signal/whisper to ASM if possible) → ASM → A2 → A1 (mix) → SM (awareness) → Actor

• Actor does: Keep acting; project safely; if there’s a planned offstage moment, tell ASM immediately. Do not open the pack or change settings unless instructed.
• ASM does: Alerts A2 and SM; helps route you to a mic swap point (wing, crossover, or quick-change area).
• A2 does: Swaps pack/battery/capsule, checks placement, confirms signal.
• A1 does: Adjusts mix, mutes noisy channel, brings up the replacement.
• SM does: Tracks the incident in the performance report and adjusts backstage timing if a swap is needed again.
• Common beginner interaction: You may be taught a “mic swap drill” step-by-step during tech: where to stand, how to hold hair/costume away, and how to re-enter smoothly.

Scenario C: A quick change is missed

Situation: You come offstage and realize you’re in the wrong costume piece with 45 seconds to your next entrance.

Actor → Wardrobe (dresser) + ASM → SM (timing decision) → Deck/Audio (if entrance changes) → Actor

• Actor does: Go directly to the quick-change station; state the problem clearly (“missing jacket,” “wrong shoes,” “zipper stuck”).
• Wardrobe does: Executes the fastest safe fix (swap item, pin/clip if approved, adjust the plan). If the change cannot be completed, wardrobe tells ASM/SM immediately.
• ASM does: Manages traffic and communicates timing; may hold you for a safer entrance route.
• SM does: Decides whether to hold an entrance, adjust a cue, or proceed; informs relevant operators (sound if mic is in the costume piece, deck if you need a different path).
• Common beginner interaction: You may be asked to practice the quick change as a timed sequence. A useful beginner habit is to confirm your preset: shoes, accessories, and mic placement before the show and at intermission.

Beginner-Friendly Etiquette: What to Ask, and When

• In rehearsal: Ask artistic questions (character, staging) at designated moments; report logistical issues (props/costumes/safety) to SM/ASM as soon as they appear.
• During tech: Expect lots of stops and repeats; give precise notes (“I can’t see the step at spike mark B”) rather than general ones (“the light is bad”).
• During performances: Keep communication short and functional; use the established channels (ASM/SM, crew heads). Save detailed discussion for after the show unless it’s urgent or unsafe.