This might seem a silly topic but it is amazing some of the stuf that is said over the comms system. and some of it is inappropriate. You need to lay down ground rules for what is said and not said on the headsets. You need to establish ground rules. Talking inanely over the comms system could in fact stuff up a cue. I have heard stuff on the headsets that would have upset cast,crew etc. Basicly what is said over the headsets should be something that you are willing to share with the rest of the cast and crew. It it cannot not be shared it should not be said.

Below is a basic list of Headset etiquette borrowed from Control Booth.

1. Keep your mic off unless speaking.
2. Do not cough, sneeze, yawn, etc  with the mic open.
3. Never discuss anything on headset you wouldn’t discuss in person center stage in front of the audience.
4. ONE person, usually the SM for a play, RULES the headset. Follow his/her lead. Once a “standby” for a cue is given, ALL conversation stops, unless persons or equipment is in eminent bodily harm.
5. Do not move or take off your headset with the mic on.
6. Warn everyone on the channel before plugging or unplugging the headset or beltpack.
7. The volume knob on your beltpack only affects the level you hear. If someone is too loud or too soft, ask them nicely to re-orient their microphone to match everyone else.
8. If using a multi-channel system, be certain you know how to use it properly, so as not to call spot cues to the flymen, for example.
9. Keep the chatter to an absolute minimum.
10. Make the testing of your station a part of your pre-show checklist.

Have you ever wondered who does what backstage in theatre?

Most people are not to sure what each job does and what skills are required for the variety of positions available backstage. So lets look at a few of the jobs and see what they do.

This is only a brief description, but if required I can expand the information in future blogs.

Lighting Designer

This is almost self explanatory. This is the person that designs the lighting for a show. They decide the colour and direction of the light, they decide where the shadows fall and direct the eye towards the key element of the show. They need to have a good understanding of the production, they need to be sympathetic to the directors vision. The designer needs to know the capabilities of the equipment that will be used lighting the show. They will always work together with the Director and the Set Designer.

Stage Manager

The stage manager is a key person in the backstage hierarchy. When the production is running they will be responsible for the vision of the director being carried out consistently. The stage manager will attend all of the rehearsals and make copious notes of where the actor stand and move. They will pass technical information on to the various technical departments. The Stage manager will have a “bible”, this is a special copy of the script that has all of the actors moves, lighting cues, audio etc marked in it. This is so that the Stage Manager can cue everybody exactly the same each and every show. They make sure it all proceeds nicely, they also need to be very aware of occupational health and safety, first aid etc.

Production Manager

This person  is in overall control of the technical side of the production. This can range from budgets to finding crews and trouble shooting. This person as to have  knowledge of what every department has to do. This person holds the tech team together.  They set up the budget and production schedules and then make sure it is followed as closely as possible. They are the ones to make sure everything is done in a safe and timely manner.  They need to carry out the risk assessments to make sure the show is safe. They need to understand technical drawings. This is a highly skilled position and one that should not be undertaken lightly.

Audio Designer

This person assembly the soundtrack of the show. This can range from assembling sound effects to recording musicians. This person works with the director to create the aural background of the show. They will go out and records voices, effects, music - whatever to create a soundtrack that will enhance the audience experience. The also need to have a great understanding of the equipment available and also the effect of sound on an audience.

Wardrobe

This department clothes the performers in costumes that will complement the production. Again they will work closely with the director.  Sometimes the costumes will give you hints of the period of the show or the maybe complete reproductions of the genuine clothes of the period. They need to have a good idea about costume construction and a good eye for design.

Now many of us that work as venue technicians also end up designing lights for the client. But is the right way to do things? Surely the client should have someone that has an understanding of lighting and they can understand the standard rig that most venues offer. so surely this person can amalgamate the standard rig and what the director wants can up with something that can look pretty damn good. Whereas the venue tech designing the lighting has no idea or time to understand what the lighting is required to do in context of the production. This is often something that occurs to me as I hurriedly put together a lighting design as we rehearse a show that might open in a couple of hours. Is the client getting their moneys worth, if with a bit of forethought and planning they could have an even better show. Should we check when a client makes a booking to see if there is a dedicated lighting person and if not are they willing to pay a bit more for the tech to turn up to one or two rehearsals and at least get a feel for the show. We would be adding value to the clients product and also give them a better experience. Surely this is good customer service and could lead to repeat business.