Job Description: Set Designer

PRE-PRODUCTION

• Obtain set budget figure and Production Forms from Production Manager. Keep an itemized list of all expenditures, accompa-nied by corresponding receipts.
• Read script for show several times to devel-op ideas for style and scope of the set. Re-read for consideration of practical elements like scene shifts, etc., particularly musicals. Keep in mind budget and crew limitations, size of scenic elements needing to be moved from ACT building to Mishler, etc.
• At least 4 weeks prior to auditions, discuss set design ideas with the Director and, if applicable, the Choreographer. Be open to Director’s artistic vision for the production. Be sure to discuss any specific requests or unusual needs (platforms need to sustain the weight of a grand piano or a large amount of floor space is needed for dancing, etc.)
• Review design ideas with Set Construction Chairman (if someone else), Lighting Designer and Mishler Technical Director to determine how the set will fit into the physical space of the stage, backstage and flyloft and relate to other production elements. Be aware that permanent set pieces may not hinder the lowering of the fire curtain to the stage floor. Sets that are placed far downstage also pose problems for the lighting designer
• Determine with Set Construction Supervisor how best to convey design elements for the construction and preparation of the set – scale floor plan, perspective sketch, working elevation drawings, model, etc.
• Establish with the other designers and crew chiefs a breakdown of interconnected jobs and set up a line of communication between them, for example Set Design, Set Decor, Set Construction, Lighting Design, Props, Special Effects, etc.
• Establish with Set Construction Supervisor when your presence will be necessary during the construction process.
• Prepare all design materials for Construction Supervisor by Read-Through or other pre-determined deadline.

REHEARSAL PERIOD

• Prepare a floor plan for the Stage Manager and assist him or her with taping out the necessary scenic elements onto the rehearsal room floor. Please use spike tape, which is more easily removed than masking tape.
• Get approval from director for any changes to the design that could affect his or her staging of the production.
• Work with Set Construction Supervisor to determine materials and equipment needs to create the set.

AT THE THEATRE

• Before Load-In, meet with Set Construction Supervisor, Lighting Designer and Mishler Technical Director onstage to roughly spike location of scenic elements, mark battens, and schedule how lighting and set crews can work with/around each other, etc.
• Be available at Load-In to assist Set Construction Supervisor with final decisions on where to place scenic elements, etc.
• Submit to the Operations Manager a list of any acknowledgement for the playbill. Also submit a list of all volunteers working with you on the Set crew. The deadline for this generally is the Sunday of load-in weekend.
• Submit to the Operations Manager your bio paragraph for the show program.

POST-PRODUCTION

• Complete production report along with the Set Construction Supervisor and return it to the Production Manager with receipts attached as appropriate.
• Submit necessary forms for reimbursement of expenditures, with receipts attached as appropriate.

SPECIAL NOTES:

• ACT has accounts with Lowes, Your Building Center, Mallow’s Hardware and Surplus City. Contact the ACT Operations Manager or Administrative Assistant for information on charging supplies to these accounts.