Stage Door
The “Stage Door” is the door leading to the backstage areas, through which the cast, crew, musicians, wardrobe, hair, and all other staff must pass when they arrive for a performance and leave at the end of the day. Stage doors are often especially hectic spots following a performance, as fans gather to catch a glimpse of one of their favorite idols and maybe even secure a much coveted autograph or photo.
Stage Managers
Little, if anything, happens backstage at a Broadway show without stage management. Working in close collaboration with the show’s Company Manager and Production Manager, the Stage Manager is charged with ensuring that the show is performed smoothly, safely, and identically at each and every performance.The “calling” stage manager dictates all of the technical cues that are executed behind the scenes as part of the show, assisted by managers positioned on either side of (and sometimes underneath or above!) the stage to make sure everyone is safe. But a Stage Manager’s responsibility goes far beyond eight shows per week. They are the keepers of the show’s “bible”: typically charged with maintaining the artistic integrity of the production and guaranteeing for audiences that what they see in the 5th year of the run is substantially the same show that the creative team presented on Opening Night.To that end, they also schedule and conduct ongoing understudy, “brush-up”, and “put-in” rehearsals, assess and address planned and unplanned cast absences, deal with technical issues both large and small, and generally maintain backstage morale. Part creative surrogate, part bus driver, part psychologist, part engineer, part traffic cop, the professional life of a Broadway stage manager is never easy but also never dull.Broadway stage managers are members of Actors’ Equity Association.
Stage Hands
On Broadway, the crew that handle many of the technical elements of the show in performance are commonly known as “stagehands.” Their work most often falls into the following categories:• Carpentry: which includes the manual or automated movement of major set pieces from the sides of the stage, from above via the “fly system” (a small example of which is shown on the wall to your left), or from underneath the stage.• Electrics: which includes all of the lighting, projection, sound, and most special effects equipment that is used in performance, as well as any electronic components that are embedded within set pieces.• Props: which is a broad category covering almost anything “portable” that appears or is consumed on stage, and would include furniture, set dressing, weaponry, food, and a litany of other items.As technology has developed and grown more complex through the years, the responsibilities and required expertise of stagehands has expanded. On today’s Broadway, the activities of the stagehands are typically coordinated and supervised by a dedicated Production Manager who joins the team even before the set has been built and who oversees the fabrication, installation, safe and smooth execution, and ongoing maintenance of all of the technical components of the show, including the work of those indispensable stagehands.Broadway stagehands are members of the International Association of Theatrical Stage Employees (IATSE), Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories, and Canada, AFL-CIO, CLC (a.k.a. “IATSE”), including its New York City stagehand union, which is Local One.
Dramatists
Take a moment to think about your favorite Broadway show. Where did that show come from?The answer can be found in the hearts and minds of talented writers. For non-musicals, that writer is most frequently referred to as a “playwright”. For musicals, the writing duties – whether it’s one person or a partnership of multiple collaborators – are broken down into music and lyrics (together known as the “score”) and the “book”, which refers to all of the spoken words that aren’t otherwise part of songs. The inspirations for Broadway shows can come from a wide variety of sources: from blockbuster movies to niche art films, from biographies across history, to folk tales to post-Impressionist artwork. Perhaps most cherished, however, is the uniquely original idea – borne entirely of the writers’ imaginations, as they attempt to once more climb the mountain and overcome the challenge of the white, blank page (or canvas), that stares back at them begging for a novel expression of their creative spirit.Many Broadway playwrights, bookwriters, composers, and lyricists are members of the Dramatists Guild.
Development
As you make your way toward your moment on stage at a Broadway theatre, we’re taking a moment to highlight some of the key players who develop the business of Broadway and shepherd shows to the stage. The term “producer” is likely already familiar to you – they’re the ultimate bosses who decide to take the plunge and assemble the creative team as well as the financial backing to mount a new production. The lead producer has the final say in all things. But do you know what a “General Manager” does? If the producer is the Chairperson of the Board, imagine the GM as a combination CEO-CFO-COO, serving as the producer’s confidante, strategist, and hands-on representative overseeing the countless financial, logistical, and administrative considerations that are part of the long journey, with the assistance of one or more Company Managers whom they assign to each show under their supervision.The counterparts to the GMs are the agents who represent and negotiate on behalf of the creative talent that is contracted to create each show. The close working relationships between agents and their clients are often deeply collaborative and personal, and can often last many years, if not decades.
Casting & Actors
If you took advantage of the opportunity to grab your moment on our stage, you’ve experienced just a small sampling of the excitement that a Broadway cast gets to experience at every performance. A small handful of casting agencies, and the encyclopedic memories of their indefatigable casting directors, are responsible for curating the talent pool to suit the specific needs of each production. But it’s not just the onstage talent that they must find. While each show has its primary cast – typically divided into “principals” and “chorus” for a musical — there’s a team of equally talented performers who wait in the wings, ready to go on whenever the need may arise.Their jobs come with some very specific terminology: for example, an “understudy” is an actor who appears in the show on a regular basis in a principal or chorus role, but is also able to perform another (usually larger) principal role if/when needed. Another form of understudy, known as a “standby”, does not get to perform unless the specific actor/role that they “cover” is absent from the performance.Additionally some shows will have “alternates” who are not technically understudies, as they regularly appear in a given role for a few performances in each week.Then there is the “Dance Captain”. And last, but most certainly not least there are the crucial “swings”, who are relied upon to be able to perform any one of multiple chorus tracks on demand, with little to no notice). Different vocal parts, different blocking, different choreography, different costume changes – it’s all in a night’s work for swings, who are nothing short of miraculous in their preparation, and whose work is indispensable in keeping the curtain up at many of your favorite Broadway shows night after night.Broadway actors are members of Actors’ Equity Association.
Lighting / Projections / Sound
So we’ve shown you how a show is conceived and written, and introduced you to the folks who perform it. But if we stopped there, all of those actors would be wearing street clothes, inaudible, and in the dark. Thank goodness, then, for the designers.When it comes to lighting and sound designers, their assignments may seem self-explanatory to you, but their work is often also at its best precisely if you don’t notice it – when it’s seamlessly integrated into the creative concept of the director and authors. Lighting and sound technologies are also ever-evolving, so these designers are constantly learning new ways to improve and enhance your theatre-going experience.The world of projection design – which perhaps could be described as equal parts scenic design, lighting design, and animation – might be a little more mysterious to you, so rather than try and tell you more about it, we’ve taken the opportunity to show the design of a number from Beetlejuice, along with what the projections, sound, and lighting designers saw as they crafted their work.Broadway lighting, sound, and projection designers are members of United Scenic Artists, Local USA-829, IATSE.
Tools
PouncesAlmost every painting starts with a drawing, typically on brown paper and in full-scale. To transfer the drawing from paper to canvas, the Artist perforates the paper image and rubs powdered chalk or charcoal through. This technique is called pouncing, and originates from the Renaissance where artists would pierce the drawing using a pounce wheel. Today, an electric pounce machine is often utilized to quickly burn a series of small holes through the paper.Pneumatic Spray GunThe pneumatic spray gun has become an indispensable tool for the modern Scenic Artist, as it delivers a fine mist of paint. Compressed air travels through the body of the gun, and when released, atomizes the paint, creating a fine mist of paint. Typically used in the automotive industry to paint vehicles, the pneumatic spray gun is the tool of choice for creating soft blends, wispy clouds, or graffiti.Lining Stick and BambooThe lining stick gives the artist a straightedge while the bamboo acts as an extension for the brush. This allows the artist to work standing, giving them a full view of the artwork while maintaining maximum mobility. Lining sticks are custom made to the artist, and are made at varying lengths, and even equipped with wheels or collapsible handles. The bamboo is harvested and split on one end to accept the brush handle, and is then tied with a rubber band.The Paint BrushA staple in the artist’s toolbox, brushes come in a myriad of styles, shapes, and sizes. The traditional brush consists of animal bristle bound with a metal ferule, and then secured to a wooden handle. Bristles come from a variety of sources including horse tails, hogs, badgers, and polyester.Backdrops and BridgesThe process of painting a theatrical drop for the stage requires the large fabric to be stretched and stapled to the floor before painting. This keeps the fabric from shrinking or distorting in an undesirable manner as the artist works the wet paint into the fabric. Before the drop is stapled to the floor, a bridge is placed under the edge to create an air pocket. Fans can be used to inflate the drop through the bridge. The artist utilizes this technique to speed drying and prevent the drop from sticking to the floor.Paint RollersWhile typically used to paint walls, a paint roller is the unlikely workhorse of many a Scenic Artist. A foam roller can be cut and shaped to the desired texture or repeated pattern. These can quickly create the organic look of tree bark, or the repetition of an Egg & Dart molding found in architecture.Charcoal & SnaplinesWhile seemingly trivial, the Scenic Artists’ preferred drawing medium is typically charcoal from the willow tree. Lightweight, soft, and straight, the willow branch charcoal creates a bold line that is easily removed prior to painting. Similarly, a snapline used to create long straight marks is typically rubbed with willow charcoal as it can be easily rubbed away prior to painting. Cotton twine is preferred over their synthetic counterparts as it holds more charcoal.By Scenic Art Studios
Direction & Choreography
A play or musical unperformed is words on a page. It’s only when a director – working closely with their cast and creative team – breathes visual life into those words on a stage that we truly have a “show”. Most everything you see on stage during a live stage performance is a reflection or a translation of the director’s creative vision for that production, interpreted in turn by a group of performers, designers, and musicians. When called for, the director’s vision is often shaped through close collaboration with a choreographer, who is typically responsible for all of the movement on stage during songs and dance sequences. As you’ve hopefully learned from our timeline, in several notable cases, some of Broadway’s greatest creative geniuses took on the roles of both director and choreographer, thus ensuring the most seamless and integrated translation of their creative vision and providing us with some of Broadway’s most enduring and cherished productions.Broadway directors and choreographers are members of Stage Directors and Choreographers Society.
Music Department
To say that musicals could not exist without the work of the music department is obvious, but even the most faithful theatre fans don’t always appreciate just how many different types of accomplished artists are responsible for creating an “Eleven O’Clock Number” on Broadway”.Often most visible is the show’s “Musical Director”, who (sometimes with supervision from a “Music Supervisor”) conducts the orchestra in performance and is responsible for quality control when it comes to all of the musical components of the production (both the cast and the orchestra).In the pit, or sometimes onstage, you have the orchestra or band. But while each is an expert musician in their own right, their job opportunity is often due to the work of the “Music Contractor” who helps select and secure the instrumentalists for each show’s orchestra. That orchestra plays sheet music created especially for each part by the “Music Copyists”. Copyists work closely with the composer but even more closely with the artists who create the orchestrations, dance, and vocal arrangements. These members of the creative team develop the show’s aural “palette” by determining which instruments are included in that orchestration, and adapting and expanding the music as necessary to accommodate the needs of the director and choreographer (including dance breaks, transition music, etc.).Broadway conductors, orchestra musicians, orchestrators, and music copyists are members of the Associated Musicians of Greater New York, Local 802, AFM and/or the American Federation of Musicians.
Scenic Design / Props
From the simplicity of Robin Wagner’s white line and mirrors of A Chorus Line to the complexity of John Napier’s levitating mansion in Sunset Boulevard and everything in between, a Broadway scenic designer is often most responsible for visually transporting us to another place in another time, or to a place entirely of their own imagination. Working closely with the rest of the creative team, it is the scenic designer who both designs the physical world you see on stage, andprovides the drawings, elevations, and details to build it.Oftentimes, these spaces need furnishings and all manner of physical items to be handled by the actors. The props supervisor is responsible for finding, buying, and/or building these details to the scenic designer’s specifications.Broadway scenic designers are members of United Scenic Artists, Local USA-829, IATSE. Most often, Prop Supervisors are members of IATSE.
Costume Design / Dressers / Wigs / Make-up
The physical components that require the most constant, ongoing care on most Broadway shows are the costumes and wigs. Between the creators of those elements and the folks who keep them looking fresh, it’s a large and varied team of specialists.It starts, of course, with one or more designers, and continues with the brilliant seamstresses, tailors, stitchers, milliners, and wigmakers. Once everything is specially fit to each actor, the Wardrobe Supervisor and a team of “dressers” make sure the actors are properly dressed for each performance, assisting with costume changes during the performance, and laundering, repairing, and generally maintaining the clothes between shows. The hairstylists do much the same for the wigs prior to, during, and between each show. Depending on the complexity of the design, the production may also employ separate make-up personnel to teach actors how to put on their own makeup and to apply specialty makeup and/or prosthetics as required.Broadway costume designers are members of United Scenic Artists, Local USA 829, IATSE. Wardrobe supervisors and dressers are members of Theatrical Wardrobe Union, Local 764, IATSE. Hairstylists & makeup artists are members of Makeup Artists and Hairstylists Union, Local 798, IATSE.
Marketing / Advertising / Press / Touring
The most essential part of any show is the audience. And to build an audience, each production relies upon its marketing, press, and advertising teams. They work tirelessly to shape the message and communicate the “feel” of a show before you hear a single word from the writer(s).But there are still so many more behind the scenes as well. Maybe you struggle to relate to some of the specialized jobs you’ve heard about in this exhibit, yet you still have a burning passion to work in theatre. Well, whatever your particular skill and whatever your personal interest, know that the theatre has a place for you. And just like manufacturing, or tech, or finance, or real estate, our industry will always need talented, creative, and smart marketing, press, and advertising personnel, who will help ensure that not only is great art continuing to be made on Broadway, but that great art is also continuing to be seen.
The Lifecycle of a Broadway Show
The Lifecycle of a Broadway ShowThe seed of an idea. That seed may originate in the mind of any number of creative people, but once discovered, it may begin to take root and sprout in its own unique way. The lifecycle of a broadway show is never quite the same - no two shows take the same path, but one thing is for certain: if a show has what it takes to make it to Broadway, hundreds of creative hands will have left their mark on it by the time the curtain rises on opening night.As soon as that idea begins to grow, new and exciting perspectives will begin to shape and challenge what the show might become. All these possibilities are impossible to list, but the development of a show can be best illustrated by the people who have had a hand in bringing the show to life.What you see before you is a visualization of just how many people are involved in the lifecycle of a Broadway show. From stories of the heart to life changing experiences, some seedling ideas may not go the distance. Others may get close, a lucky few go all the way, but from each journey - regardless of how long - come lessons to learn and tales to tell.Illustrations by Ii. Javier AmeijeirasQuotes from interviews conducted by Nolan DoranSpecial thanks to Nell Benjamin
