A Production Administrator is responsible for managing and coordinating the administrative and logistical aspects of theatre productions.
Whilst there are no specific qualifications required to become a Production Administrator, it could be useful to have a degree in Theatre, Arts Management or Business Administration and/or an Administration apprenticeship.
Search all opportunities to help you get into theatre here
Having a qualification in relevant subjects will help towards securing a job as a Production Administrator. You could also gain experience through internships or entry-level roles such as Production Assistant or Administrative Assistant in a theatre company.
It is important to build a professional network within the theatre industry through internships, volunteer work, and attending industry events.
Starting salary for Production Administrator can be between £18k - £20k and can grow to around £25k - £30k. These roles are often full or part-time, but can sometimes be contract and/or freelance.
The above is a guide. Pay, salary or fee can vary depending on the theatre or company, as well as your personal experience. National institutions or commercial productions can pay in excess of the above, with profit-share or community theatre paying less.
You can find theatre jobs via The Stage Jobs here
https://uk.indeed.com/cmp/National-Theatre/salaries/Administrator
https://www.glassdoor.co.uk/Salaries/theatre-administration-assistant-salary-SRCH_KO0,32.htm
https://www.prospects.ac.uk/job-profiles/arts-administrator
https://www.theatreartlife.com/staying-still/what-it-means-to-work-in-theatrical-administration/
An Assistant Producer supports the lead Producer or Executive Producer in managing, administration and overseeing various aspects of a theatre production. Their role is crucial in ensuring that the production process runs smoothly from the initial planning stages through to the final performance.
What are the main responsibilities of an Assistant Producer?
There are no specific qualifications required to become an Assistant Producer, however here are some useful subjects and courses that you can study to gain knowledge and experience:
Search all opportunities to help you get into theatre here
Find opportunities in producing from across the theatre industry here
Working towards becoming an Assistant Producer involves a strategic combination of education, gaining relevant experience, developing key skills, and building a professional network. Start with entry-level roles such as Production Assistant or Administrative Assistant in a theatre company and work your way up as you gather experience.
An Assistant Producer can earn from £25k - £36k+ per year based in a venue or with a theatre company. As a freelancer, you can set your own rate based on your experience and the scale of the show and/or tour. Equity rates for a freelance lead Producer for 2024 suggest a day rate of £173.
The above is a guide. Pay, salary or fee can vary depending on the theatre or company, as well as your personal experience. National institutions or commercial productions can pay in excess of the above, with profit-share or community theatre paying less.
You can find theatre jobs via The Stage Jobs here
https://www.belgrade.co.uk/wp-content/uploads/2023/06/Assistant-Producer-Candidate-Pack.pdf
Published: 4th June 2024
An Executive Producer plays a strategic role, overseeing multiple productions or the entire theatre company. They provide high-level guidance and support but are less involved in the day-to-day operations like a Producer is.
There are no specific qualifications required to become an Executive Producer, however here are some useful subjects and courses that you can study to gain knowledge and experience:
Search opportunities to help you get into theatre here
Working towards becoming an Executive Producer involves a strategic combination of education, gaining relevant experience, developing key skills, and building a professional network. Consider degrees in theatre, arts management, business, communications, or a related field. Later, work as an Assistant Producer, Production Assistant, or in other entry-level roles in theatre production. You can also work in stage management to build your understanding of the technical process. Gaining hands-on experience will help you to develop the necessary skills.
An Executive Producer based with a company can earn around £38-£45k+ per year. If you are a freelancer, you can set your own rate based on your experience and the scale of the show and/or tour. Equity rates for a freelance Producer for 2024 suggest a day rate of £173 minimum.
The above is a guide. Pay, salary or fee can vary depending on the theatre or company, as well as your personal experience. National institutions or commercial productions can pay in excess of the above, with profit-share or community theatre paying less.
You can find theatre jobs via The Stage Jobs here
https://uk.indeed.com/career/executive-producer/salaries
https://www.charityjob.co.uk/jobs/tiata-fahodzi-theatre-company/executive-producer/946862
https://www.itc-arts.org/rates-of-pay/
Published" 9th June 2024
An Associate Costume Designer will work with and assist the Costume Designer to design the costumes for a show. They will support in making sure the costumes match the time period, the characters and the Director’s vision for the piece, as well as being practical for the Performer.
While you do not need a degree for this role, here are some useful subjects and courses that could help you get a head start in the industry:
Find training opportunities in costume design from across the theatre industry here
Always ensure you keep examples of your work. Read our blog 'How to make a Costume Design portfolio.'
You may start as a Wardrobe Assistant and move into more senior roles such as Wardrobe Master/Mistress or Costume Supervisor, before then moving into Costume Design. Taking an internship or apprenticeship will help you gain relevant experience as well as network. Keeping a portfolio is crucial when showcasing your talent.
Pay for a Costume Designer can vary depending on their level of experience. They can be in-house for theatres who produce their own work regularly, which would be a paid salary. However, it is likely that you will be freelance and design for a fee, which can vary based on the show scale and the company. For one production, 2024/2025 Equity rates suggest a Designer fee of £3133.13 and a weekly making fee of £613.84. Sometimes, and often for smaller scale productions, the Set and Costume Designer will be the same person. Associate Costume Designers are usually brought on for much larger scale productions, or when the Costume Designer needs to be absent for portions of the show.
The above is a guide. Pay, salary or fee can vary depending on the theatre or company, as well as your personal experience. National institutions or commercial productions can pay in excess of the above, with profit-share or community theatre paying less.
You can find theatre jobs via The Stage Jobs here
https://www.itc-arts.org/rates-of-pay/
https://nationalcareers.service.gov.uk/job-profiles/costume-designer
https://www.planitplus.net/JobProfiles/View/42/19
Published: 3rd June 2024
An Associate Set Designer supports the execution of the scenic design for theatrical productions, films, television shows, or other live events. Specific duties may vary depending on the project and the preferences of the lead Set Designer.
Find designing opportunities and training from across the theatre industry here
Although you do not need any qualifications, you may wish to study Set Design through a university course, college course, apprenticeship or internship. You can gain a qualification in any of the following subjects:
Take a look at apprenticeship opportunities and how they can help you here
Ensure you keep a portfolio of all of your previous work to show to potential employers. Read our blog, ‘How to make a set design portfolio’ for some tips on how to best display your work.
The journey to become an Associate Set Designer typically involves a combination of training, practical experience, and networking. Internships and apprenticeships provide hands-on experience, exposure to professional workflows, and networking opportunities within the industry. Keeping a portfolio of work will allow you to demonstrate your abilities to potential employers. Read our blog, ‘How to make a set design portfolio’ for some tips on how to best display your work.
The role of an Associate Set Designer can vary depending on the scale of the production as well as the actual size of the theatre. Most Associate Set Designers work on a freelance basis. For one production, 2024/2025 Equity rates suggest a Designer fee of £3133.13 and a weekly making fee of £613.84.
The above is a guide. Pay, salary or fee can vary depending on the theatre or company, as well as your personal experience. National institutions or commercial productions can pay in excess of the above, with profit-share or community theatre paying less.
You can find theatre jobs via The Stage Jobs here
https://www.glassdoor.co.uk/Salaries/set-designer-salary-SRCH_KO0,12.
https://www.eno.org/artists/anna-schottl/
https://www.itc-arts.org/wp-content/uploads/2024/02/Rates-of-Pay-2024-27-Sheet.pdf
Published: 9th June 2024
An Assistant Choreographer is a key member of a choreography team, working closely with the lead Choreographer to create and execute dance routines for various productions.
You can find dance and choreography opportunities to help you get into theatre here
A formal qualification is not necessary as Assistant Choreographers typically begin their career as a Dancer and study a variety of routines through this. However, here are some useful subjects and courses that you can study to gain knowledge and experience:
Search theatre training courses to help you get into theatre here
Here are some subjects that you can study at school which will teach you some useful skills for becoming an Assistant Choreographer:
Always keep a showreel of your individual work and where your work has been shown as well as choreography for any previous productions.
Starting a career as an Assistant Choreographer often begins with formal dance training. Performance experience is beneficial to understand the job from a performer's point of view. Mentorship / shadowing Choreographers or Movement Directors will help you gain relevant experience. Equally essential is building a portfolio showcasing your unique choreography to show potential employers and collaborators.
For a lead Choreographer working on one show, the Independent Theatre Council states that the minimum preparatory fee for preparation and up to 2 weeks’ rehearsals is £2,310. If rehearsals continue past this, the weekly fee is £572 or daily fee is £186 (correct as of May 2024). Choreographers are often freelance. Read our blog 'How to become a freelancer in theatre' here.
The above is a guide. Pay, salary or fee can vary depending on the theatre or company, as well as your personal experience. National institutions or commercial productions can pay in excess of the above, with profit-share or community theatre paying less.
You can find theatre jobs via The Stage Jobs here
Find all careers advice by reading our selection of blogs here
References:
https://www.itc-arts.org/rates-of-pay/
https://www.glassdoor.co.uk/Salaries/assistant-choreographer-salary-SRCH_KO0,23.htm
https://careers.atg.co.uk/job-search/job-detail.html?jobid=215794
Published: 24th May 2024
An Associate Director is typically a member of the production team who works closely with the Director to support and assist in various aspects of the production process. The role will require you to take over when the Director is absent, or on touring productions.
You can search for associate directing opportunities from across the theatre industry here
While there are no specific qualifications needed to be an Associate Director, these courses could be beneficial:
Here are some subjects that you can study at school which will teach you some useful skills on your journey to becoming an Associate Director:
Find training opportunities in directing offered across the theatre industry here
If you’re thinking of becoming an Associate Director, these can be the desirable skills to be an ideal candidate:
As an Associate Director, your role adapts to the preferences of the Director that you're supporting. This could mean leading rehearsals, aiding in creative brainstorming, or taking charge of particular scenes or characters. Your input and expertise contribute to the production, especially in areas where the Director needs assistance or lacks time. While your insights are valuable, the Director ultimately makes the final decisions. If you are working on a touring production or a long-running show, you will often make sure the show keeps the Director’s vision throughout.
How much can I earn?
Associate Directors are often freelancers, so you can negotiate your fee with the company or venue. This would usually be based on the venue’s budget, the duration of the show, the size of the audience and the ticket prices. The fee may vary depending on your level of experience. Learn more about freelancing with our blog 'How to be a freelancer in theatre.' For more information on a Director's fee, read our What does a Director do? blog.
The above is a guide. Pay, salary or fee can vary depending on the theatre or company, as well as your personal experience. National institutions or commercial productions can pay in excess of the above, with profit-share or community theatre paying less.
Watch this interview with Steven Kavuma to learn more
Find opportunities to help you get into theatre here
You can find theatre jobs via The Stage Jobs here
https://www.mgcfutures.com/associate-director/
https://www.firstcareers.co.uk/careers/what-does-an-associate-director-do/
Published: 23 May 2024
Directors are responsible for bringing a Playwright's words to life on stage or leading the Actors in a direction to create a story, called ‘devising’. They oversee every detail of the creative process and create a cohesive and compelling play by using their own artistic interpretation of the script.
You can search for directing opportunities to help you get into theatre here
While there are no specific qualifications needed to be a Director, these courses could be beneficial:
Having experience in directing through amateur dramatics or community theatre can be helpful in building your CV and understanding of your own directing style.
Here are some subjects that you can study at school which will teach you some useful skills on your journey to becoming a Director:
Find training opportunities in directing to help you get into theatre here
If you’re thinking of becoming a Director, these can be the desirable skills to be an ideal candidate:
As a Director, you start the process by analysing the script, grasping its themes, characters and messages. You might plan what you want the play’s key message to be before the actors join. Research and development days may follow - experimenting with ideas alongside the creative team. Both creative meetings and logistical production meetings with the production team happen throughout the process.
In rehearsals you guide actors through scenes, giving direction and ensuring that your vision is successfully coming to life. During technical rehearsals, sound and lighting elements are incorporated into the play, overseen by the technical designers. There will also be dress rehearsals with all costume, set and props. Directors may watch initial performances to provide feedback, but it's not mandatory. Once the show is running, your job is done.
Throughout the whole process, you will need to manage admin tasks, communicate with the team and balance artistic goals with practical constraints like budgets. Despite the demanding work, collaborating with talented artists to bring stories to life on stage can be highly rewarding.
Directors are often freelancers, so you can negotiate your fee with the company or venue. This would usually be based on the venue’s budget, the desired rehearsal time, the duration of the show, the size of the audience and the ticket prices. The fee may vary depending on your level of experience as a Director. Learn more about freelancing with our blog: 'How to be a freelancer in theatre.'
A preparatory fee will be given, in addition to weekly payments for rehearsals. Whilst salaries will vary, the Independent Theatre Council states that the minimum preparatory fee for a full-length play of 70+ minutes is £1,870.00. For short plays of 70 minutes or less, the preparatory fee is £1,232.32. They rate rehearsals at a weekly payment of £572 (correct as of May 2024). As this is the minimum, preparatory fees can often be much more.
The above is a guide. Pay, salary or fee can vary depending on the theatre or company, as well as your personal experience. National institutions or commercial productions can pay in excess of the above, with profit-share or community theatre paying less.
Watch this interview with Director Adam Penford to learn more
Find directing opportunities to help you get into theatre here
You can find theatre jobs via The Stage Jobs here
https://www.prospects.ac.uk/job-profiles/theatre-director
https://www.itc-arts.org/wp-content/uploads/2024/02/Rates-of-Pay-2024-27-Sheet.pdf
Photo: Alex Brenner
Updated: 17 May 2024
"If you were good enough you wouldn’t need a day job."
That’s the message I received over and over again growing up – I wanted to work in theatre, and everyone knew that an aspiring theatremaker would wait tables or pull pints for a while before getting the Big Break and never looking back. It all sounded so straightforward – you work hard, eventually, someone notices your talent, and you get the career you deserve. If you didn’t, it’s because you either weren’t good enough or didn’t work hard enough.
Of course, I didn’t know anyone who actually worked in theatre. My perception was shaped by films, TV shows, and interviews – fictional and heavily edited narratives. Drama school reinforced the idea that hard work and talent were what it took and that anything but uncomplicated success was a personal failure.
Once I was out of drama school, however, a different picture began to form. I saw brilliant actors work themselves so hard they burned out and quit. I knew how hard I was working and I wasn’t getting anywhere, so did that mean I wasn’t good enough? I was looking for directing jobs and couldn’t get hired, so I took on more work at my day job to earn enough money to stage my own work. That’s a surefire way to get noticed, right?
Except that’s not what happened. I made my own work, it took a long time to add up to being offered paid work, and I still needed a day job. I won a prestigious award and still needed a day job. Over the past year, I’ve had my first opera performed, I’ve been on international residencies, my first book got published, and I directed a popular Fringe show which is currently booking tour dates in the US and Canada. People look at my CV and website and tell me I have an enviable and successful career, and I agree. But I still teach acting classes. That’s still my money job. I just no longer think it has anything to do with how good I am. It has everything to do with theatre being an industry that doesn’t pay well and where work is sporadic.
Day rates often make it sound like theatre is well-paid – and sure, if you were getting that day rate every working day for 48-50 weeks a year, it would be. But remember that it’s covering you for all the days you don’t get paid for – the days when you’re doing applications/self-tapes, going to auditions/interviews, learning new skills, prepping for rehearsals. The number of days you spend putting in work and the number of days you get paid for are not the same thing.
I’m not telling you this to put you off. I love what I do and I regret nothing. I’m lucky enough to really like my money job, too – nurturing new actors is one of my favourite things to do. I’m telling you all of this because if you’re someone who needs a money job while you find your feet in the industry, it’s good to put some thought into what that will be. You want something that will pay your bills but leave you with enough energy to put into your art. Ideally, you want something that connects to your art rather than taking you away from it, like teaching or ushering or script reading, where you might also meet future collaborators who are also walking the longer path and experiencing the same self-doubt as you. Have faith in each other, and in yourself, and trust that the quality of your work will get you to where you need to be – and that needing a money job is no reflection of anything except many years of the arts being undersupported.
Written by Jen McGregor (any pronouns), director/playwright/dramaturg. Working in theatre since 2011 – making a living at it since 2018!
There are a lot of stereotypes about people who work in theatre. You have to have a loud and in-your-face personality, and you have to enjoy being the centre of attention, but like all stereotypes, they're not actually true. When I was younger I used to have panic attacks if I had to speak in front of people. The fear of being asked to read aloud in school was paralysing. But I found other ways to make myself seen and heard.
Moving my body in dance classes gave me a new language, a way of saying all the things I wasn't confident enough to say with my voice. With choreography to concentrate on, I could step out onstage and forget the audience existed. And when I eventually started acting, I could immerse myself in different characters and become someone else, someone who could say and do things I didn't feel brave enough to.
Obviously, not everyone shares this experience. Maybe you're perfectly happy hiding out backstage among the costumes or sound equipment. There are a million ways to be creative and countless different careers in the arts where your skills, and your voice, will be important. I now run my own theatre company, managing projects from behind the scenes. I write, direct and produce plays that give other people the chance to see themselves reflected onstage. Creativity can come in the form of finding new ways to fundraise or reach audiences, workshop activities that help people whose brains learn differently to thrive, or designing the eye-catching poster that draws someone to a show that will change their life. Creative industries are as limitless as the people who shape them, and all the best art comes from breaking the mould – even quietly.
During the casting process for shows I direct, I'm often drawn to the quiet actors, the gentle ones, who listen more than they talk. Even from the other side of the audition panel, theatre spaces seem full of impossibly confident people, but when you remember that pretending is part of the job, suddenly it becomes clear we're all just as nervous and eager to prove ourselves as one another. Trust that there are people out there who will appreciate your ability to watch, listen, absorb, empathise, understand and choose your words (or whatever form your expression takes) with intention. Because that is what gives art its power. It's about what we say, not how loud we say it.
There are times when you will have to push yourself, embrace the fear of jumping in head first in group auditions, be proud in showing that interview panel why your project deserves support, and make yourself heard when your ideas could help create something spectacular. It may take time to find your way of saying the things you need to say, maybe even longer to find places and people who make you feel brave enough to act on your passion. But trust me, it will be worth it.
Written by CJ Turner-McMullan (they/them) Creative Director of Apricity Theatre, freelance Actor, Director and Writer, PhD Researcher and Associate Lecturer at Bath Spa University.
