DESIGNER (Set or Costume)

THE JOB DESCRIPTION FOR THIS POSITION WILL INCLUDE THE ENTIRE SET OR COSTUME DESIGN SECTION OF THE FOLLOWING DOCUMENT:

Associated Designers of Canada, A.D.C. Standards and Working Procedures

THIS POSITION REQUIRES THE SIGNING OF A CONTRACT

The DESIGNER, a member of the production’s design team, is jointly responsible for the artistic concept, and through the Wardrobe, Carpentry, Props and Paint departments, the technical execution of the design. Conceptual direction and input comes from the DIRECTOR or CHOREOGRAPHER, who, with the SET, COSTUME, LIGHTING and PROJECTION

DESIGNERS, works toward a unified and cohesive look for the show. As well as putting their individual concepts and styles on stage, all designers must work to support the DIRECTOR’S or CHOREOGRAPHER’S vision.

The COSTUME DESIGNER works very closely with the WARDROBE SUPERVISOR, and is responsible for all costumes, accessories, make-up, hats and wigs. The SET DESIGNER is responsible for all scenic elements, props and paint treatments, and works closely with the different HEADS OF DEPARTMENT.

DESIGNERS do not fit clearly into the theatre hierarchy: although production staff works to realize their designs, designers do not supervise in a management sense. All requests for unapproved work or changes to the design resulting in increased costs must be negotiated with Production Management (for budget and scheduling implications), Technical Direction (for overall technical implications) and Heads of Department (for delegation and supervision of staff).

At the School, all DESIGNERS must sign a contract, indicating acceptance of all duties and obligations, and outlining design due dates. Failure to perform according to contractual obligations may lead to academic penalty.

The responsibilities of the DESIGNER shall include but not be limited to:

PRIOR TO REHEARSAL

• Reads the script and makes appropriate notes
• Obtains all necessary and pertinent plans, drawings and inventories; these may include all plans and sections of the venue and inventories of all in-stock costume and set pieces
• Initiates a meeting with the DIRECTOR or CHOREOGRAPHER, to discuss concepts
• Performs research, as necessary, into the history and context of the story, with particular attention paid to appropriate styles
• Meets with the LIGHTING and PROJECTION DESIGNER to discuss concepts, colour, practical fixtures, fly line and trim height restrictions, masking, etc; meets with the TECHNICAL DIRECTOR to ensure all paperwork is accurate and production restrictions are properly outlined
• Meets with the various HEADS OF DEPARTMENT to discuss inventory, staffing limitations, budgets, etc.

DURING THE REHEARSAL PERIOD

• Attends rehearsal often, adhering to the established “Visitor’s Policy”
• Becomes acquainted with the blocking of the show, in order to ensure design elements do not hinder the performers’ movements
• Meets regularly with the DIRECTOR to ensure accuracy of artistic vision
• Reads, and promptly responds to, all DAILY REHEARSAL NOTES; meets daily with the STAGE MANAGER to obtain clarification and confirm status of requests
• Researches, either alone or with the appropriate HEAD OF DEPARTMENT, all potential design elements, including alteration of stock items, rental items, etc. to be aware of budget and time implications when presenting the PRELIMINARY SET or COSTUME DESIGN

AT THE PRELIMINARY SET or COSTUME DESIGN MEETING

Comes prepared to discuss all preliminary design requirements, and includes a preliminary floor plan, a rough inventory of stock items required, loan/rental needs, consumables estimates, special rigging concerns, masking, trim and sightline issues, full costume plots with indications of quick changes, general descriptions of any proposed treatments, and any other aspect of the design expected to cost time or money

Produces, for the meeting, rough set or costume sketches, drawings, preliminary sections, elevations, white models, props lists and costume plots deemed necessary to explain preliminary design requirements

AT THE FINAL SET or COSTUME DESIGN MEETING

Comes prepared to submit and discuss all final plans, plots and lists, including, as appropriate:

• Painted Set Model/Costume Sketches and Costume Detail
• Ground Plan/Section with Centre Line Section and trim heights
• Co-ordinated drawings
• Fly Line Plot
• Full Costume Plot
• Working drawings, as required
• Props List with working drawings

AT THE Q – TO – Q, TECHNICAL and DRESS REHEARSALS

• Is present at all technical and subsequent on-stage rehearsals
• Takes set or costume notes and shares these notes with the appropriate HEAD OF DEPARTMENT at the end of the rehearsal

GENERAL

• Attends and participates in all production meetings
• Takes the initiative in arranging meetings/communication, when necessary, with the DIRECTOR or CHOREOGRAPHER, other DESIGNERS, STAGE MANAGER, and other production staff, to obtain information
• Submits to the TECHNICAL DIRECTOR any documentation deemed necessary to the TECHNICAL BOOK (the technical archive of the show)

AFTER THE SHOW

• Attends and participates in the STRIKE as a crew member
• Attends and participates in the Post Mortem
• Submits written evaluations of all management staff and other personnel with whom they had regular contact, no later than the start of the Post Mortem

This information is intended as a guideline only. It is not intended to replace the required reading or research in your area, or information gained in the classroom.

The demands of this position, and the hours worked, will vary with each production.

THE DUTIES AND RESPONSIBILITIES OF THIS POSITION MAY BE ALTERED WITHOUT NOTICE BY THE RESIDENT STAFF AND FACULTY