Crew: The set designer creates the locale and period in which the musical occurs.
While some sets are very simple and focus the audience's attention on the show itself,
some are lavish and extravagant providing visual appeal. The head carpenter
is
responsible for building the actual set. The lighting designer decides where the light-
ing instruments should go, how they should be colored, and which ones should be on at
any particular time. The electrician
implements the lighting designer's work and makes
sure the lights are set properly and safely. The property (props) master is in charge of
obtaining or making and maintaining all props used in the show. He or she also sets the
props in their proper places before the show begins. There is also a flyman, who oper-
ates the flying system (if necessary), and controls the raising and lowering of back-
drops, light set pieces, and the curtain itself. When young performers (18 and younger)
need extra guidance and direction, the child wr
angler helps them through the
rehearsals and production for a smooth and successful show. The stage manager
is
responsible for the overall integrity of a production. He or she assists the director by calling out forgotten lines during rehearsals,
and “calls the show”, making sure each performance runs as smoothly as possible.
Sound: The sound designer plans the layout of all sound playback and equipment for the show and adjusts the pitch, volume,
duration, and overall quality of the music to meet each specific scene's needs. The sound oper
ator executes the sound designer's
plans and handles the mixing equipment for the show. Music and sound must fit the context in which they are used. The adjust-
ments are made using the soundboard. The sound effects designer is responsible for creating or enhancing sounds distinct from
music and dialogue, such as doorbells or running water.
Costumes and Make-up: The costume designer first researches the setting of the musical. Costumes must be appropriate
for the time period and culture of the show, beautiful and elaborately designed, while also practical enough to all for movement
and dance. He or she then decides which styles and fabrics to use, and draws the costumes in renderings. Through costume fit-
tings, the tailor
adjusts the outfits to fit each individual performer. During dress rehearsals and performances, actors have
dressers to help put on his or her costume. The ensemble or chorus members also have dressers to help them change during quick
character or scene transitions. The make-up artist
is responsible for applying cosmetics to each performer's face and body to
increase visibility, enhance certain features, and modify the actor's look to resemble his or her character. In addition to make-up,
certain roles call for a specific hairstyle. The wig master/mistress obtains the wigs, styles and shapes them, and helps the actors
put them on.
Elements of
Production
3 -- Musical Theatre 101 -- Sweet Charity Study Guide
A musical is much more than the two and a half hour show the audience sees. The production process often takes many months,
even years, to complete.
Creative Team The Cast
The Rehearsal
No musical would be possible with-
out the imagination or inspiration
of its authors. Many times, the idea
for a show grows from an existing
book, play, article, or movie. Other
times, authors write musicals from
an original idea or concept. Once
an idea is developed, composers
and lyricists begin to write the
songs. The music needs to not only
fit the overall tone and pace of the
musical, but also contain lyrics that
help the audience understand the
story and its characters. The chore
-
ographer designs dance sequences
for the performers. The dances are
intricate movements that allow the
performers to express the meaning
of each song. The director
works
with all of them to help guide the
overall artistic vision of the show.
The director works with the casting
agent to cast both the principal
performers and the ensemble or
chorus members. Each performer
must have a well-trained singing
voice, acting skills, the ability to
dance, and fit the look of his/her
character. These elements are all
evaluated during the audition
process. Actors are asked to bring a
headshot
as well as perform two
pieces, one uptempo song and one
ballad
. Those who are not chosen
for a principal role through the
auditioning process sometimes
become standbys
or understudies,
who take over the part when the
leading actor is unable to perform.
There are also swings, who serve as
backups for ensemble or chorus
members.
The cast will do an initial read-
through of the script, without
singing or dancing, followed by addi-
tional practices with the rehearsal
pianist. The music director or con
-
ductor teaches and rehearses the
music with the orchestra and is
responsible for the musical aspect of
the production. The dance captain
,
sometimes together with the chore-
ographer, teaches and rehearses the
dance sequences with the perform-
ers. During rehearsals, the director
coaches the actors' reading of the
lines and emotions and also gives
them their blocking
, line by line,
scene by scene. Next, the cast does
a sitzprobe, where they sit and sing
with the orchestra before incorpo-
rating any staging, scenery, cos-
tumes, or props. Eventually, the cast
does a wanderprobe
, where they
run through the show, including
movements and dancing, while the
orchestra plays. The technical
rehearsal is when the full cast and
crew walk through the entire show,
ensuring every light cue, sound
effect, microphone, etc. works as
planned. This rehearsal is mainly for
the tech staff. The cast and crew
will also go through a dress rehears
-
al, many times to bring all the dif-
ferent elements (costumes, music,
dance, lights, sound) together.