Maybe you’ve had a look at a range of different roles on a theatre production team, and you’ve got your sights set on one - but how do you land a job on a theatre production team?
If you’re unsure what type of role you’d enjoy, check out the Production Team section of Get Into Theatre’s Complete list of jobs in the theatre industry! Company Manager Antonia Collins advises that even if you have your sights set on a particular role, "don’t be afraid to try other roles". For example, taking on a Followspot Operator role even if you aspire to be a Deputy Stage Manager will help hone your transferable skills and build your network and relationship with the team you end up working with at the venue.
The first place to start is to look for current opportunities and vacancies in the industry. Like any other industry, there are a couple of key places to check out, where employers (often Producers, Production Managers or Company Managers) will share roles they’re looking to fill on a production team. These include association and union job boards (including Equity UK, the Stage Management Association (SMA), the Association for British Theatre Technicians (ABTT), and more - check out AAPTLE), or websites like Mandy. However, many of these job boards are behind paywalls (meaning you’ll need to be a member of the union/association in order to access it), which may not be particularly accessible if you’re just starting out.
Other free places to look include:
Antonia stresses the importance of networking, particularly in expanding your own personal reach and getting to know professionals currently working in the industry and projects in production. This can be as simple as saying hello to someone by shooting them an email for a coffee or popping along to a social event hosted by an association. A lot of people working in theatre are extremely friendly and are willing to give up a bit of their time to chat to someone starting out.
The next step after setting your sights on a job is to go ahead and apply! Most opportunities will request a CV (or ‘curriculum vitae’), a cover letter, and sometimes a portfolio. Portfolios tend to be requested when putting yourself forward for design-based roles - check out Get Into Theatre’s tips for lighting, set, and costume portfolios.
If the employer likes the look of your CV and cover letter, you might be invited to meet for an interview. You might be asked questions about your past experience and why you’re interested in this particular role, project and company. Always do a bit of preparation and research in advance; Antonia recommends having some answers prepared based on the nature of the role. For example, if you’re interviewing to be an Assistant Stage Manager, you’re likely to be asked about props.
Company Stage Manager Ali Wade notes that interviews really depend on the role you’re applying for. For example, if you’re looking for a role as an Automation Technician, the person interviewing you might be less worried about your people skills than your capability to fix complex broken things. However, “a sense of humour never goes amiss”, and it’s important that you’re positive and enthusiastic.
Don’t be disheartened if a rejection lands in your inbox - you just might not have been the right fit for the team or company! Ali’s main advice is “don’t try to run before you can walk. Don’t be disappointed if you get rejected for a position on a big, commercial musical - the idea is to start smaller, build skills and confidence and work your way up to the bigger productions - you will probably be a better Stage Manager for it.”
Written by Misha Mah
Misha Mah is an early-career Production Manager and Producer, with an interest in immersive work and live events. She is a graduate of the University of Birmingham’s BA Drama and Theatre Arts course, and will be commencing on the MA Stage & Production Management programme at the Guildford School of Acting this fall. She is currently the Social Media Manager for The SM NEST, the network for early-career stage managers.
Company Manager Antonia Collins
Company Stage Manager Ali Wade
Published: 6 October 2021
Blog photo: Alex Brenner
An Assistant Director plays a crucial role in supporting the Director and ensuring the smooth operation of a production. They handle many behind-the-scenes tasks that contribute to the overall success of the project. An Assistant Director position gives you the opportunity to both learn about the production process generally and the work of a Director. After a while of assisting Directors, you could eventually work towards becoming a Director.
You can search for assistant directing opportunities from across the theatre industry here
While you do not need a degree for this role, here are some useful subjects and courses that you can study to gain knowledge and experience.
Search all training opportunities to help you get into theatre here
Here are some subjects that you can study at school which will teach you some useful skills on your journey to becoming an Assistant Director:
Find more theatre careers advice here
An Assistant Director needs to be prepared to undertake a wide range of roles in order to assist the Director and ensure the smooth running of a production. You will take notes during rehearsals and the shows, to share and discuss with the Director. Whilst there is not a one-way path to become an Assistant Director, having previous experience of producing, directing, acting and creating new work is ideal.
Pay can vary and can be offered as a freelance fee per production, or occasionally based in-venue or with a company. 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.
To learn more about what a Director does, watch this interview with Director Adam Penford
You can find theatre jobs via The Stage Jobs here
https://www.rsc.org.uk/blogs/whispers-from-the-wings/so-what-does-an-assistant-director-actually-do
https://uk.indeed.com/cmp/New-Vic-Theatre/salaries/Assistant-Director/England
https://journalofmusic.com/listing/22-04-24/resident-assistant-director
Updated: 23rd May 2024
With many drama schools now into their second year of holding auditions online due to the pandemic, we check in with students from Trinity Laban’s Foundation Course, to talk about top tips for online drama school auditions, self-tapes and online interviews.
Neve Clarke, Amy Mash and Sarah Dickson tell us about what happens during the online audition process, the best techniques for online auditions and what they wish they had done differently to prepare.
“I felt self-tapes were helpful in being able to see exactly what the panel would see… This helped my confidence in what I was producing.”
“I liked how I could watch my tapes back to analyse how I was acting in my songs, monologues and dance pieces. I found this helpful as I could correct myself.”
Read our tips on how to tackle nerves and anxiety before an audition here
“Something that I think would be very beneficial is to do a mock online Zoom audition.”
“I felt I could have looked for more Shakespeare monologues so I could have a choice for each school instead of only using the same material for every school.”
“I wish I had done more on live interviews over Zoom. Being in a room I can give off my personality, however it was a lot harder through a computer.”
Find out how to prepare for a drama school audition here
“Some schools took an extremely long time to get back to me. I waited 10 weeks from one school.”
“I could have connected the computer to a speaker so I could hear the music more clearly in dance auditions.”
“I feel like some schools might have first-round auditions online because it means people do not have to spend money travelling to the schools for auditions. I do however feel it would be better for schools to at least have their second rounds in person.”
What is the best advice for getting into drama school as an Actor? Find out more here
“I would definitely make sure you set up your camera correctly. I would make sure that you use natural lighting when filming. But mostly I would say if you have an interview, you have to show so much more personality and enthusiasm because it is harder to convey through a camera.”
“Do not try and get the perfect take on your self-tape - you will drive yourself insane. Just keep trying your best. Watch your tapes back and decide what parts you need to focus on.”
Read our top 10 tips on how to self-tape and audition online here
Photo: Shutterstock
Published: 06 May 2021
Take a tour backstage at the Royal & Derngate theatre and see how they create the set and what goes on behind the scenes of a theatre production.
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Transcript:
Hello, I'm Oscar. I'm a Royal & Derngate Arts Leader. Today I'll be taking you around Royal & Derngate Theatre and the Northampton Filmhouse on a quick behind-the-scenes tour. I have to be a bit quiet because they're currently doing a tech rehearsal for Holes, which is in here now.
So, this is the Circle level and then you also have the Gods upstairs and then the Stalls which is downstairs. Originally, there was two boxes on either side of the Circle. They're actually probably seen to be the worst seats in the house but the rich people would want to sit there because they could be seen by everyone.
This is currently the Wings for Holes. I'll just take you through. It's quite noisy in here so I'll have to be a bit louder. So, this is workshop for the Royal Auditorium. This is where we make all of our Made In Northampton shows. They're currently building the set for Alone In Berlin, that's going to go into the Royal in a couple of weeks. I'll walk us through and then I'll take us to the paint shop. If you want to follow me.
So, this is the paint room for the Royal. So this is where they paint all of the sets that have just been built from downstairs. It's quite a large room because they need enough room to build all of the tall sets, then get it back down into the Royal ready for the shows.
Search training, experience and funding opportunities to help you pursue a career in theatre here.
Published: 27 March 2020
Image: Alex Brenner
Access to Work is a government programme aimed at supporting disabled people to take up or remain at work. Access to Work is a discretionary grant scheme that provides personalised support to disabled people who are:
To find out more about this scheme you can take a look at the Disability Rights UK website here.
If you are disabled or have a physical and/or mental health condition that can make it challenging for you to do your job, you can do one of the following things:
In this blog you will find key information about access when working but if you would like to read about it in more detail about how you can access your workplace then click here.
Your employer must make certain changes - which are known as ‘reasonable adjustments’ - to make sure you’re not at a disadvantage when doing your job. These adjustments can include changing your working hours or providing equipment to help you do your job. You should always speak to your employer before applying for an Access to Work grant.
Find out more information about reasonable adjustments here.
If your employer has made reasonable adjustments for you and you find you need additional help, you can get help from an Access to Work grant.
In order to be eligible to receive a grant, you need to have a paid job or be about to start or return to one.
You’ll be offered support based on your needs which may include a grant to help cover the costs of practical support in the workplace. An Access to Work grant can pay for:
You may not get a grant if you already get certain benefits, but if you do, the money does not have to be paid back and will not affect your other benefits you receive from the organisation you work for.
If you would like to apply for an Access to Work grant click here.
Access to Work grants are different for those who live in Northern Ireland. If you would like to know more about this support click here.
If you need mental health support you can apply for a grant to help cover the costs of practical support in the workplace, or getting to and from work including:
Take a look at our blog ‘What support is there for mental health in theatre’ here.
You can get confidential support and advice from a trained healthcare professional from the Mental Health Support Service. You do not need to have a diagnosed condition to use the service and you do not have to get an Access to Work grant to get support from the Mental Health Support Service, however you must be eligible. Find out if you’re eligible here.
You cannot get an Access to Work grant to pay for:
Ensure you know your rights at work and what is available to you. Read carefully through your contract of employment which you’ll receive a copy of when you begin your job at that company. Access is a basic right and requirement that is constantly changing and improving the theatre industry and allows it to grow.
https://www.gov.uk/access-to-work/eligibility
https://www.nidirect.gov.uk/articles/employment-support-information
https://www.gov.uk/access-to-work/apply
https://www.gov.uk/reasonable-adjustments-for-disabled-workers
https://www.gov.uk/access-to-work
https://www.disabilityrightsuk.org/access-work
Photo: Shutterstock
Published 2 January 2020
Scotland has a thriving theatre scene that is recognised internationally. It is completely possible to live in Scotland and work within its amazing theatre industry. This blog highlights where you can find out more about Scottish Theatre.
What are producing theatres? Producing theatres are theatres that choose their own programme of productions (often referred to as a ‘season’) and create their productions as opposed to smaller theatres who host touring productions or upcoming productions for a short period of time. Their main focus is to present their own productions, however, they can co-produce with other theatres and companies to present work to add to or complete their season.
Below are a number of well-known producing theatres in Scotland.
Scotland’s New Writing Theatre.
Artistic Director David Greig, one of Scotland’s most celebrated contemporary Playwrights.
Currently undergoing a multi-million pound refurbishment and putting work on at the Tramway in Glasgow in the meantime.
Mid-scale theatre in the centre of Glasgow. The current Artistic Director Andy Arnold also founded The Arches, Glasgow’s legendary contemporary performance space which unfortunately closed in 2015.
The last remaining repertory company in Scotland meaning they focus on one repertoire of performances e.g. opera. They have a mixture of permanently employed and shorter-term Actors.
A major venue in the Highlands of Scotland, producing a summer season of 6 plays offered in daily rotation.
Established in 2007 and has a unique structure, being ‘without theatre walls’, dedicated to making work in partnership across Scotland.
Receiving theatres or 'houses' host visiting companies who's productions have been developed elsewhere and are touring around a number of venues
Below are some well-known receiving houses in Scotland
One of Scotland's most historic and significant theatre's, it presents first class shows from a wide range of genres and provides Glasgow's flourishing amateur groups with a high-profile stage.
Presents quality drama, dance, comedy and musicals and is home to residents Scottish Opera and Scottish Ballet.
Find out what opportunities are available at King's Theatre and Theatre Royal here.
Open since 1976, this is a large theatre, cinema and arts venue.
This is a performing arts venue used primarily for performances of opera and ballet, large-scale musical events and touring groups. It also has a capacity of 1,915.
This is one of Scotland's most historical and important theatres having been active since 1906.
This theatre is a 'learning theatre'. Those who study at the nearby University of the West of Scotland have direct access to the resource of the Gaiety Theatre to assist with their studies.
This is a multi-arts venue locations on the main campus of the University of Stirling, Scotland. They offer a varied programme of events and experiences including cinema, comedy, dance, exhibitions, music, opera and theatre
The Brunton Theatre, Musselburgh
This is a mid-scale performing arts venue and it part of a wider complex, incorporating council offices. As a whole this is called Brunton Memorial Hall.
Established producing theatre buildings will have permanent production staff of Carpenters, Costume Makers, Technicians and Stage Managers and hire freelance stage and Lighting Designers for each production if needed. See what Carpenters, Costume Makers, Sound Technicians, Lighting Technicians and Stage Managers do here.
Read our blog ‘How to become a freelancer in the theatre industry’ here.
Producing theatres will have a team who manage the building, and a team to market and promote the theatres upcoming season (upcoming shows) to the public. See what a Theatre Marketer does here.
They will also have a team of community and education staff who work with communities and in schools and colleges to encourage people to attend the theatre through different stages of education and participatory projects. See what a Theatre Education Manager does.
Small producing theatres have very small production teams, some not at all and hire freelance staff when needed. These theatres sometimes hire large producing theatres to design and create their sets and costumes. Alternatively they can hire an external company to create their sets and costumes.
Read our blog ‘How to become a freelancer in the theatre industry’ here.
These smaller theatres usually consist of less than 5 employees including an Artistic Director, Producer or General Manager and possibly some administrative support. They don’t have permanent production/technical staff or Actors.
Village halls also accommodate a small audience run by volunteers who want to bring theatre to their village. Despite being small, shows at these venues are produced to a high quality and can go on to do a touring circuit. In the Highlands and Islands there are at least 90 village halls of this size.
Scotland has a world-renowned children’s theatre sector which includes a national organisation called Imaginate. Imaginate is dedicated to promoting and supporting theatre and dance for children and young people, including the annual Edinburgh International Children's Festival.
There is an organisation in Scotland dedicated to supporting playwrights called Playwrights’ Studio Scotland.
This is the nation’s only arts organisation exclusively dedicated to the long-term support, development and promotion of Scotland’s Playwrights. They work actively with Playwrights, connecting them with audiences and organisations, for the enrichment and enjoyment of the people of Scotland and beyond.
The Traverse Theatre is Scotland’s new writing theatre. They work with the newest and rawest talent - with an emphasis on those based in Scotland - working on it to become the art, artists and performances that can be seen on stages through a variety of creative learning and literary programmes.
There are a variety of theatre companies who produce work made by Artists with disabilities. These include:
Take our quiz and find opportunities in the Scotland area here.
All the above information was given to us by the Federation of Scottish Theatre. They are the membership and development body for Scotland and look to promote all things Scottish Theatre so it's a good idea to check them out too.
Photo: Alex Brenner
Published: 23 December 2019
A Theatre Fundraiser is responsible for planning, organising, and executing fundraising initiatives and campaigns to secure financial support for a theatre company or organisation. Their primary goal is to generate revenue to sustain the theatre's operations, support productions, and fund special projects or initiatives. They are often referred to as the Development team.
Qualifications for a job as a Theatre Fundraiser can vary, but typically involve a combination of education, experience, and skills in fundraising, communications, and relationship management. Some people start or side-step from being a Producer as this can also be a key part of their role and sometimes this is part of the Executive Director’s role.
Find an opportunity to help you get into theatre here
An education in Arts and Fundraising will help to secure a career as a Theatre Fundraiser or, eventually, a Development Manager. Internships and apprenticeships are a useful way to learn about the job and to meet people working in these roles. Additionally, you could begin as an Administrator to gain relevant experience.
While salaries may vary, starting salaries for a charity fundraiser can be anywhere between £18,000 and £25,000. Development Managers can up to and beyond £50k.
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.prospects.ac.uk/job-profiles/charity-fundraiser
https://www.artsjobs.org.uk/jobs/search/44117
https://www.artsprofessional.co.uk/newprofessionals/career-guide-arts-fundraising
https://cptheatre.co.uk/news/Top-Tips-for-Fundraising
Updated: 7th June 2024
An Armourer is in charge of the firearms and blades used in a theatre production. They can also be responsible for pyrotechnics (any special effects using heat, light, gas, smoke or sound) and theatrical trickery. There is a strict policy on firearms being used in the UK, however there is an Act which allows productions to only use decommissioned firearms and blunted or altered blades during a performance as part of the show.
Search training, experience and funding opportunities from across the theatre industry here
There are many different elements of being an Armourer and many different skills needed. To pursue a career as an Armourer you must learn the necessary skills and gain specific training. Paul Wanklin is the Senior Armourer at the National Theatre and began his career in the army before seeing a job advertised for an Armourer that showed he had many transferable skills for the position. You can also work in TV and Film as well as Theatre.
Armourers in theatre can have very specific rates or may have a similar show rate as a Stage Manager.
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.backstage.com/magazine/article/weapons-master-70399/
https://www.rsc.org.uk/blogs/out-of-the-spotlight/armoury
Photo: Shutterstock
Updated: 6th June 2024
The Automation Department is responsible for a production’s moving scenery, creating and controlling a complex sequence of scene changes that happen on stage. For example, in The Lion King, the stage is raised to represent Pride Rock at the beginning of the production and then this part of the stage is lowered to make the stage a flat surface.
The automation system can control elements such as electric motors, hydraulics and pneumatics to move lifts, flying scenery and stage trucks.
Search training, experience and funding opportunities to help you get into theatre here
For large-scale theatrical productions, these are some common roles that are employed for the duration of the production run. As every production is different, the staff in these roles will have knowledge and experience relevant to the production’s specific requirements.
Other roles that can be involved within the field of Automation include Engineers, Mechanics, Production Staff and Programmers.
Automation can be a highly specific field. It is possible to train within a theatre, however the below qualification areas may also help:
See training opportunities to help you get into theatre here
Automation is a very specific job within theatre. You can often transition from a Stage Crew or Stagehand position into Automation. Once you are trained up into this position, you have a very distinct skill set and can then transfer from show to show. Smaller productions tend to have smaller or simpler sets so you may mostly be working on larger productions.
Find out what Backstage Crew members do here.
The Head of Automation will have a weekly basic show fee of £840-£900 per week.
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
http://www.theatrecrafts.com/pages/home/topics/automation-scenic/
https://tinathemusical.com/uk/content/uploads/2021/06/Head-of-Automation-Job-Description-TTM.pdf
https://members.bectu.org.uk/advice-resources/library/3176
https://www.thestage.co.uk/advice/2017/theatre-automation-operator/
https://www.tomorrowsengineers.org.uk/real-jobs/theatre-automation-engineer-ben-phillips/
https://www.abtt.org.uk/wp-content/uploads/2023/06/0000063274.pdf
Photo: Alex Brenner
Updated: 6th June 2024
Thank you to Automation Operator/ Programmer Nick Page for providing information for this blog post. Nick runs the website automation.london, which helps connect current Automation vacancies with relevant and experienced Automation professionals.
A Dance Captain is a member of the cast or company who is responsible for overseeing and maintaining the artistic standards of all choreography and musical staging within a production.
The Dance Captain works closely with the Associate Director or Director, the Stage Manager and the Choreographer. A Dance Captain differs from a Choreographer as they work with and as part of the ensemble to ensure what the Choreographer has created is up to the standard needed for the show.
A Dance Captain often undertakes the following duties:
Most Dance Captains are also dancers within the show. This means that they might get an Understudy or Swing to play their part on the night so they can watch and make notes on the show. They then use these notes to rehearse with the Dancers and ensure the choreography is maintained. They may also have to help work out who plays what role if someone within the ensemble is absent.
A lot of Dancers do not need a formal qualification but formal training could be beneficial to help learn and develop your technique. Your training as a Dancer will help you find opportunities to be a Dance Captain. One of the following training courses could be useful to help you develop the skills needed to become a Dancer and Dance Captain:
See dance training opportunities here
Most Dance Captains begin as a member of the ensemble. The Director and Choreographer will appoint a Dance Captain for the particular piece of choreography. Throughout your career you could then become an Assistant Choreographer and then a Choreographer.
This amount can vary depending on the size of the production, the theatre and the number of tickets sold. Equity rates for 2024/25 state Dance Captains earn an extra £50 per week on top of their performers’s rate. See our blog 'What does an Actor do?' for more details on their pay.
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.
See dance training opportunities here
https://www.backstage.com/magazine/article/dance-captain-job-explained-77026/
https://www.mgcfutures.com/careers/dance-captain/
https://www.dancespirit.com/ins-and-outs-of-dance-captain-2532517084.html
Photo: Shutterstock
Updated: 23rd May 2024
