So, you’re interested in Cambridge theatre. But what’s that, you don’t quite feel up for rolling about the stage in a dramatic monologue? You want to know what life is like behind the scenes? So you look on Camdram and see a whole host of “prod/tech” applications for everything from Snow White to Shakespeare, and it all just seems a bit complicated (I mean, what even is an ‘ASM’?). Fear not! This quick trip through Cambridge theatre will introduce you to the key roles available, and some handy pathways into the mysterious world of prod/tech.

Director, Assistant Director, Associate Director

You’ve most likely to have heard of these roles before. The director is in charge of the overall creative vision of the production; it’s a hands-on role, involving rehearsals, talks with designers on a creative level, plus discussions with producers, stage managers and welfare representatives to handle organisation and safety.

“The Technical Director is like a producer with a saw, a hardhat, and a passion for drills”

Assistant and Associate Directors provide alternative views and opinions, and can take on some rehearsals or communication responsibilities to share the workload; for the ADs, it’s a great way to gain experience in directing!

Directors can be the person that pitches the show, or they can be brought onto the team later, meaning there are a range of opportunities across the year to make your Cambridge directorial debut.

Producer

The Producer helps orchestrate everything (like, evil mastermind style). Fiends with a spreadsheet, Producers keep track of the budget, ensure preparations are running on schedule, and check that everyone has the necessary training.

Producing may also entail booking rehearsal rooms or managing publicity and welfare (or otherwise putting out applications for these roles); the exact responsibilities will vary depending on the production and can be distributed to an Assistant Producer.

Technical Director

The Technical Director is like a producer with a saw, a hardhat, and a passion for drills. They make sure all safety paperwork is looking good, coordinate designers to pull together a stage plan, and run the get-in (when lights, sound, and set is all put into position). Perhaps the biggest draw, however, is their fancy coloured hardhat.

“Welfare is a good role for people who are emotionally in-tune, and (crucially) who know their way around the biscuit aisle in Mainsburys”

The Designers:

Designers are able to take on more or less responsibilities depending on the size of the production and the vision of the director. For example, designing costumes for a modern two-hander would be much more straightforward than for an ADC mainshow period drama. This means that, since each show will be different, there is a huge deal of creative freedom in these roles.

Lighting Designer

The Lighting Designer works with the Technical Director and Stage Manager to produce their rig plan (where each light will be hung). When it comes to designing each state, they adapt, colour, brightness, special effects, and haze to enhance the atmosphere on stage. They get to help rig the lights at the get-in, which can involve using gels or gobos.

Sound Designer

For some productions, the Sound Designer just needs to source or create music and effects to complement the overall design of the production. Other shows, like musicals, have extra requirements, such as radio mics for the cast, a plan for where the band (and their microphones) will sit, and how the sounds will be mixed.

Costume Designer

A Costume Designer sources, hires, purchases, alters or makes costumes. The role has plenty of room for creativity, organisation, and some problem-solving, for instance where quick changes must be made possible.

Set Designer

The Set Designer designs the set (surprise!), but the role can also involve building and painting. Depending on the venue and size of production, they can delegate to a Head Carpenter and/or Technical Director.

“DSMs call every cue, summoning actors and commanding effects like a slightly caffeinated Dumbledore”

Stage Manager (SM), Assistant Stage Manager (ASM)

The SM’s main responsibilities are in dress rehearsals and performances. They oversee any scene changes or technical effects controlled from stage, for instance flying scenery, organising props or bringing set on/offstage. The SM also looks out for safety, for example by running fight calls or by keeping the stage clear when set is flown in. In bigger productions, the SM takes on a more supervisory role and delegates tasks to ASMs — another good entry-level role, which can include the whole run or just a couple of performances.

Deputy Stage Manager (DSM)

No, not the German acapella group from Pitch Perfect 2 — the DSM is the person calling everything during a run, from their cosy little desk in the Stage Left wing. With an incredibly organised prompt book, they call every cue, summoning actors and commanding effects like a slightly caffeinated Dumbledore.

Welfare Officer

From everything to providing snacks and diffusing tensions, the Welfare Officer looks out for everyone’s well-being, both emotional and physical. It’s a good role for people who are emotionally in-tune, and (crucially) who know their way around the biscuit aisle in Mainsburys.

That’s most of the key roles covered. Eager to find out how one of these could be your next title?

You can find vacancies on Camdram.net (where you can filter by role). If you want to build experience, watch out for the Freshers’ Plays, or the Fresher Technician roles for ETG — both are designed for beginners. You could also take on an Assistant position to get to grips with the job — even when not advertised, if you email in, most people would be happy to show you their process.

Above all, apply. And good luck!

Note: more information (and links to handbooks for most roles) can be found here https://www.camdram.net/positions