Last Updated 2/11/2001

The successful production of any play demands a wide variety of communication and technical skills from a whole host of individuals. It is imperative that it is understood that to produce a successful play requires teamwork from both on stage and back stage. It is the responsibility of everyone involved in a production to treat each other as a valuable part of the team. Listen to what production staffs need from you because doing as they ask can very well make the difference between a good show and a great show. Although we should all be out there having fun, just remember that if a production staff person asks you to do something and you disagree with the decision, do it for one reason: the good of the show.

This memorandum is a policy letter and not part of the bylaws. The Board will periodically review and revise this policy letter as circumstances change. The intention of this policy letter is to inform and guide the production staff. The Board recommends that the Producer share these policies with members of the production staff and request a formal or informal agreement between the Producer and production staff. The Producer and Director may also assign assistants to share with the roles and responsibilities for key production members (i.e. Assistant Producer, Director or Stage Manager, etc.).

The Board asks that the Producer coordinate with the committee chairpersons to obtain the necessary support or guidance needed during a production. Committees and production staffs will have enough authority to do their jobs without having to come to the Board for every decision. Committees are designed to provide support for all productions. Committee chairpersons should obtain a staff to support their committees and assign individual(s) to assist in applicable production assignments. However, it is the ultimate responsibility of the Producer and the key production staff members to seek assistance for the production. Committee chairpersons and production staffs should also consider seeking assistance for the production staff outside our membership as this helps our organization and membership grow. 

It is not the responsibility of the Board to spend too much time dealing with minutiae because important decisions may get short shrift. Members of committees and the production staff will handle the details of the production. The Production Committee Chairperson will address disagreements within a production staff and, if necessary, bring recommendations to the Board.

Any further questions concerning these documents should be directed to the Board. 

Thank you for your cooperation.

Twin Beach Players Board of Directors

DUTIES AND RESPONSIBILITIES

PRODUCER
DIRECTOR
STAGE MANAGER
ACTOR
PUBLICITY MANAGER
PROGRAM MANAGER
HOUSE MANAGER
SET DESIGNER
SET CONSTRUCTOR
SET DECORATOR
PROPERTY MANAGER
LIGHTING MANAGER
SOUND EFFECTS MANAGER
MUSIC DIRECTOR
CHOREOGRAPHER
COSTUME MANAGER
MAKE-UP MANAGER
COMMITTEES

PRODUCER

The Producer has a broad area of responsibility and is responsible for planning and ensuring that all aspects of a particular production are carried out to completion. Essentially the Producer is responsible for the business end of the production (the budget and the selling of the show). Any member of the Twin Beach Players can provide their name or names of recommended Producers to the Production Committee Chairperson. The Production Committee Chairperson, in coordination with the Director, will approve the Producer for a particular production; however, the Producer is ultimately responsible for the production.

The following is a list of a Producer's Duties and Responsibilities:

1. Coordinating with the Production Committee Chairperson, appoints, removes or replaces key production staff members (except Director), as needed. In the event that the Production Committee Chairperson is the Producer, than the Board appoints, removes or replaces all production staff members, as needed. Keeps Production Chairperson advised of status of production and any issues or concerns.

2. The Producer is the sole person responsible for the budget provided by the Board. NO EXPENDITURES WILL BE MADE UNTIL THERE IS AN APPROVED BUDGET FROM THE BOARD OF DIRECTORS.

3. Provide guidance and request that each key production staff member (costume, make-up, lighting, sound, sets, etc.) coordinate with applicable committee chairpersons as necessary to establish a projected budget. Specify date budget is to be submitted to the Producer for review. The projected budget must be submitted to the Board of Directors for approval no later than the first Board meeting before auditions. 

4. Receives, certifies for payment and sends to the Treasurer all bills or original receipts related to the production. Alerts the Board of anticipated budget overruns. For single purchases that exceed any item over $100.00, there must be at least three bids from potential sellers and that the buyer conforms with the signature authority for check writing as described in the Bylaws. 

5. Maintains professional decorum among the cast and crew throughout the production. Coordinating with the Producer, the Production Committee Chairperson will address issues or concerns within a production staff and, if necessary, bring recommendations to the Board. 

6. Calls and presides over production staff meetings. Ensures responsibilities of production staff are clear. Coordinates with production staff to identify tasks and assigns target dates on a calendar for key production members such as props, set, lights, make-up, costumes, publicity, program, house, etc. Reviews and approves final content, layout and design of tickets, advertisements and programs, etc.. 

7. Coordinates with the Director to hold open auditions. 

8. In cooperation with the Director, the Publicity Committee Chairperson and the Publicity Manager ensure both auditions and the show are well publicized. It is the current policy of the board that no refunds are provided. Ensure advertising contains a statement "Sorry - No Refunds". Most productions are conducted in a dinner theater format; most restaurants require an advance headcount. The headcount requirement is usually annotated within the venue contract. All publicity dinner shows must state "Advance Ticket Sales Only". Encourage customers through advertising or other media means to purchase tickets in advance or at a specified date. With Publicity Manager, arranges for photographer to attend specified rehearsals for publicity purposes. 

9. Ensures an announcement of casting and a thank you is provided as soon as possible after auditions. Welcome those who are not cast to assist on the production side.

10. The Producer obtains a copy of the venue contract from the board or venue point of contact. The Producer will inform the board and the Production Committee Chairperson of any changes to the contract. Coordinates with the board or the assigned venue point of contact to obtain the appropriate venue information to be included in all advertising. The Producer is responsible for coordinating with the management of the performance site or rehearsal site(s) regarding schedules and all changes to the schedules. The Producer must provide a point of contact to the management of the performance site or rehearsal site(s) for addressing questions, issues or concerns. Periodically identify alternative sites for rehearsals and inform the production staff in a timely fashion. Ensure proper coordination of times for rehearsals, technical work, and production between all parties involved in a production. 

11. Many publishing companies require advance notice of ticket prices before the rights to a play are released. Coordinating with the board or the individual in charge of obtaining the rights for the show ensure appropriate ticket charges are shown on all tickets and advertising. When applicable lowers the price of tickets for children (generally 12 and under) and seniors (generally 55 and older).

12. Periodically publishing companies and organizations providing grants or financial support may require specific recognition in all advertising and programs. Coordinating with the board or the individual in charge of obtaining the rights for the show ensure appropriate information is annotated on all programs and advertisements.

13. Ensures a point of contact list is prepared of both actors and production staff and provides all participants in production current copies of such information. 

14. Oversees ticket sales. Appoints a ticket sales coordinator. Provides thorough guidance to the ticket sales coordinator. Each production may require unique requirements depending on how tickets are to be sold and the venue contract. Ensure coordination is made between the production committee chairperson and board regarding unique ticket requirements. It is the current policy of the board that no refunds are provided. Ensure tickets contain a statement "Sorry - No Refunds". Since dinner shows require advance ticket sales only, encourage customers to purchase tickets in advance or by a specified date.

15. Arranges a meeting between the Membership Chairperson and the cast and crew to discuss becoming a member of the Twin Beach Players. Encourages all persons associated with the production to become paid members of the Twin Beach Players. Provides membership monies collected to any member or Treasurer of the Board.

16. Arranges or appoints someone to arrange the cast party and appropriate gifts for the Director(s). 

17. During show, oversees all areas of responsibilities. Steps in to assist areas where there is a shortage of staff. Schedules a board member or selects a member to 
represent the Twin Beach Players to present opening remarks. 

18. Oversees the set strike, collection and return of costumes from cast, collection of props, and general cleaning of the production and rehearsal site(s). All set pieces, costumes, and props will be accounted for. The appropriate production managers will sign for and be held responsible for items used out of the Twin Beach Players inventory. Prepare and submit a list to the Property Chairperson describing any new items being added to the Twin Beach Players inventory. Ensures set, costumes and props are returned in good working order and reports to the Production Chairperson the conditions of items returned. All of the above shall be completed within one week of the close of the production. Producer shall do a walk through of the production and rehearsal site(s) and the storage facility to ensure all work has been completed satisfactorily. 

19. At the close of the production, holds a production meeting to discuss lessons learned from the production and prepares an evaluation. Presents the evaluation and submits the final report of expenditures and revenue to the Board no later than the first Board meeting following the final show date. For historical purposes, maintains a copy of all advertising, flyers, newspaper articles and photos. Provides data to the Secretary. 

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DIRECTOR 

The Director is responsible for the final artistic product (the actors and the technicians). The Director and the Producer must work in harmony with each other if the project is to work well. The Director is responsible for all artistic decisions affecting the production. The Director may elect to have a committee chairperson or the key production members handle artistic design or choose a more dictatorial approach. Either method is fine as long as the committee chairpersons and production staff have a clear understanding of the Director's intent. 

1. The Board appoints, removes or replaces the Director. 

2. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

3. Reads script to become thoroughly familiar with all aspects of the play, establishes character interpretations and plans staging and blocking. 

4. Chooses appropriate scenes for casting. Coordinates with the Producer the location, date and time of auditions. Presides over all open auditions. 

5. Blocks the production and guides performers in character interpretations and development. 

6. Advise set, lighting, costume, make-up, sound, and prop managers on their artistic interpretation of those aspects of the production. 

7. Presides over all rehearsals. If absent, assigns assistant Director or Stage Manager to run rehearsal. Sets rehearsal schedule with assistance of Producer. 

8. Coordinating with the Producer approves the program before it is printed. 

9. Maintains professional decorum among the cast and crew throughout the production. Consults with Producer or Production Committee Chairperson on issues or concerns. For issues resulting from the Director, the Production Committee Chairperson will address issues and, if necessary, bring recommendations to the Board. The Board will review the recommendation and determine how to proceed through Board discussion and possibly a Board vote. In the event that the Production Committee Chairperson is the Director, than the Board will address issues and determine how to proceed through Board discussion and possibly a Board vote.

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STAGE MANAGER 

The Stage Manager coordinates all movement of sets, props and people backstage during the actual production. Carrying out the responsibilities of Stage Manager requires the development of leadership and organizational skills. The Stage Manager is the Director's right hand.

1. Reads script and becomes thoroughly familiar with the play. 

2. Attends all rehearsals or appoints a person to do so and is present for all performances. 

3. Follow scripts at each rehearsal or appoints a person to do so. 

4. During blocking rehearsals, records all blocking in the stage manager's script, follows script during later rehearsals to assure that performers follow the Director's blocking and calls any deviations to the Director's attention. 

5. Coordinating with the Production Committee Chairperson, appoints and arranges for stage crew to be at rehearsal or performance site before rehearsal to set stage for the scenes being rehearsed so the rehearsal can begin promptly at the scheduled time. 

6. If there is no Assistant Director, conducts rehearsals in the Director's absence, following the Director's instructions on blocking, character interpretations, etc. 

7. Once into production, takes over ALL responsibility for performance including sounds, lights, house, etc. 

8. Ensures that performances start on time. 

9. Obtains crewmembers and assigns appropriate tasks. Prepares and maintains a roster of all cast and crewmembers. The roster should be posted in the "green" room for all cast members and those crewmembers who must be present during the performances. Assures that all are present or the substitutes are on hand before the start of the performance. 

10. Maintains professional discipline among the cast and crew throughout the production. 

11. During rehearsals and performances, ensures that performers are in place in advance of their entrances and ready to make their entrances. 

12. Supervises property and set crews during rehearsals and performances. 

13. Is responsible for all backstage activities during performances. Ensures that the stage is properly set and equipped before each scene or act and gives the signal to the light booth, House Manager and cast for each scene or act. After consulting the House Manager and light booth, gives the signal to start the performances and to end intermissions. 

14. Ensures that audience is kept off stage before, during and after performances and intermissions. Keeps audience and other unauthorized people away from the backstage area at all times. 

15. Ensures that all crewmembers that set the stage or change scenery, props or furnishings during performances are dressed in dark colors. 

16. Supervises striking the set, removing nails or screws and storing material that may be used again in the storage facility and throwing out anything that cannot or will not be reused. Obtains crewmembers and assigns appropriate tasks.

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ACTOR 

The Actor is responsible for developing the artistic product in coordination by the Director. The Actor must work in harmony with the Director, the Producer, and the entire production staff for the project to work well. The Director is responsible for all artistic decisions affecting the production. The Director may elect to have an actor provide artistic interpretation or handle artistic design through a more dictatorial approach. Either method is fine as long as the Actor and Director have a clear understanding of the Director's intent. 

1. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

2. Reads script to become thoroughly familiar with all aspects of the play, develops character interpretations and plans staging and blocking. 

3. During audition the Director will choose appropriate scenes for casting. The Actor is responsible for arriving at on time at the location of auditions. 

4. Develops an understanding of character interpretations and blocking as provided by the Director or Stage Manager. 

5. The Actor must listen and abide to the advise of set, lighting, costume, make-up, sound, and prop managers as to their artistic interpretation of those aspects of the production. 

6. During the Director's absence, the assistant Director or Stage Manager will run rehearsal. 

7. It is the responsibility of the Actor to obtain information regarding rehearsal schedules and changes to the rehearsal schedule. This information can be obtained from the Director, Producer or Stage Manager. 

8. Excused absences are allowed; however the Actor must coordinate such absences with the Director, Producer or Stage Manager. The Actor must ensure that they have a way to contact the Director, Producer or Stage Manager at the venue or rehearsal site. 

9. Unexcused absences will not be tolerated. Through coordination with the Production Committee Chairperson, the Director or and/or Producer may remove or replace Actors for continued unexcused absences or unprofessional behavior that may be deemed detrimental to the continued success of the production. 

10. Maintains professional decorum among the production managers, cast and crew throughout the production. Consults with Producer or Production Committee Chairperson on issues or concerns. For issues resulting from the Director, the Production Committee Chairperson will address issues and, if necessary, bring recommendations to the Board. The Board will review the recommendation and determine how to proceed through Board discussion and possibly a Board vote. 

11. Provide the Producer a write-up about past theater experience to be included in the "About the Cast" portion of the program no later than the date specified by the Producer or Director. 

12. Assists the Publicity Committee Chairperson and the Publicity Manager to ensure the production is well publicized. 

13. Assists in arranging the cast party and appropriate gifts for the Director(s). 

14. At the Direction of the Producer and Director, the Actor must step in to assist in areas where there is a shortage of production staff. The Producer and Director will ensure there is not an interference with the Actor's responsibilities. 

15. The Actor must assist with the set strike, collection and return of costumes from cast, collection of props, and general cleaning of the production and rehearsal site(s). All set pieces, costumes, and props will be accounted for. Ensures set, costumes and props are returned in good working order and reports to the Production Chairperson the conditions of items returned. All of the above shall be completed within one week of the close of the production. Producer shall do a walk through of the production and rehearsal site(s) and the storage facility to ensure all work has been completed satisfactorily. 

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PUBLICITY MANAGER 

To measure the success of all the work that has been put into a production requires a play to be performed in front of an audience. To ensure that people will come to see the play there must be a well organized advertising effort. This requires the Publicity Chairperson and a Publicity Manager working together on developing news releases, posters and other means of publicity.

1. Coordinating with the Publicity Chairperson, determines the promotional needs of the production. Submits a projected publicity budget for review by the Producer no later than the date specified by the Producer. 

2. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

3. Coordinates with the Membership Committee Chairperson for the announcement of auditions to members. 

4. Prepares press releases, flyers and public service announcements about auditions and the production. Clears the advertising content with the Producer before the advertising is publicized. 

5. Coordinates with the Producer to obtain the appropriate venue information to be included in all advertising. 

6. Many publishing companies require advance notice of ticket prices before the rights to a play are released. Coordinating with the Producer ensures appropriate ticket charges are shown on all advertising. For dinner shows, ensure that all publicity states "Advance Ticket Sales Only". 

7. It is the current policy of the board that no refunds are provided. Ensure advertising contains a statement "Sorry - No Refunds". 

8. Periodically publishing companies and organizations providing grants or financial support may require specific recognition in all advertising and programs. Coordinating with the Producer ensure appropriate information is annotated on all programs and advertisements.

9. Coordinating with the Publicity Chairperson develops local media contacts to encourage newspaper review of the show and radio/television appearances. With permission of the Director and Producer, invites newspaper and television reporters to dress rehearsals or opening night performances. Arranges for a photographer to attend specified rehearsals for publicity purposes.

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PROGRAM MANAGER

1. Determines how the program will be developed from collection of information to the printing of the program. Submits a projected program budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

2. From the script, the Director, and the Producer obtains information needed to prepare the Program copy.

3. Coordinating with the Director, prepares the "About the Play" section.

4. Ensures there is an informational section about the Twin Beach Players (see the Board Secretary for current write-up or a previous edition of a program). 

5. Obtains information for biographical sketches from cast, crew and production staff and writes or edits those sketches. 

6. Ensures that the names of all those who worked on the production, current sponsors (contact Sponsorship Chairperson), and those who contributed to the production itself are acknowledged in the Program. Always ensures a statement is made as a result of accidental oversight or omissions in the program. 

7. Coordinating with the Producer, Sponsorship and Publicity Committee Chairperson, collects appropriate information for paid or unpaid advertising to be included in the Program, as appropriate. 

8. Designs or arranges for design of the Program. 

9. Layout or arranges the layout of the Program. 

10. Clears program design and content with the Producer before the Program is printed. 

11. Makes arrangements with a printer and paper supplier for the timely printing of the Program. Please note that some organizations have volunteered in the past in lieu of advertising within the program. 

12. Ensures the Program is picked up from the printer and delivered to the House Manager before the opening performance or as instructed by the Producer. 

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HOUSE MANAGER 

The House Manager is responsible for the comfort of the patrons who attend the play. Assigns someone to be in charge of the box office and to usher and hand out the programs at the performance. Handles all emergencies that may arise during the performance. 

1. Submits a projected house budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

2. Obtains an appropriate staff to clean house, usher, take tickets and handout programs and prepares a schedule of the staff. Ensures the staff is appropriately attired for ushering, taking tickets and handing out programs to patrons. 

3. Performs a complete cleaning the performance site before opening performance and ensures cleanliness of restrooms and seating area of the performance site during the run of the production. 

4. Decorates seating area of performance site as necessary 

5. Ensures the comfort of the patron during performances. 

6. Decorates seating area of performance site as necessary. 

7. Flashes house lights, as necessary, to indicate beginning of the show and the end of the intermission as directed by the Stage Manager. 

8. Enforces no smoking (and when applicable, no eating) in the seating area of the performance site. 

9. Serves as the principal fire warden when patrons are in the seating area of the performance site. 

10. Maintains the order of the patrons during the performance. 

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SET DESIGNER 

1. Reads script and reviews suggested set layout in the script. 

2. Submits a projected Set Designer budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

3. Consults or takes guidance from the Director to determine the most practical set design within requirements of the show's blocking, budget and space availability. 

4. As needed by the Director, prepares drawings/mock up of proposed set. 

5. Obtains and assigns tasks for the Set Construction Crew and Set Decorator. Arranges with Director and Producer for Set Construction Crew and Set Decorator to have access to the Performance Site for work during non-rehearsal time or other non-use times. 

6. Appoints and supervises the work of the Set Construction Crew and Set Decorator. 

7. Ensures that set design, construction and decoration are completed by scheduled times set by Director and Producer.

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SET CONSTRUCTOR 

1. Set Constructor can also be the Set Designer. 

2. In cooperation with the Director and Producer, is responsible for obtaining and building the set as directed by the Set Designer. Submits a projected set construction budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

3. Appoints and supervises the work of the Set Construction Crew. 

4. Ensures that set construction is completed in accordance with scheduled times and established by the Director and Producer. 

5. Constructs any special effects needed. 

6. Repairs the set as needed during the run of the production. 

7. Is responsible for ensuring that all tools and unused materials are returned to their proper storage location. 

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SET DECORATOR 

1. Consults with the Set Designer and Director on set decorations and furnishings. 

2. Paints, or arranges for paining the set. Work is to be completed in accordance with the scheduled times established by the Director and Producer. 

3. Supervises the work of the Set Decoration Crew. 

4. Obtains furnishings for the set and ensures their arrival in accordance with the scheduled times established by the Director and Producer. 

5. Consults with the Properties Chairperson for availability of the Twin Beach Players owned furnishings. 

6. Promptly returns any borrowed or rented items at the end of the production. Check condition of and returns Twin Beach Players items to their proper place storage facility or as designated by the Properties Chairperson. 

7. Submits a projected set decorator budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

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PROPERTY MANAGER 

Properties are those things used by the actors to carry out the plot of the play. They may be furniture items or small items that are carried by the actors. These items need to look authentic to the period and purpose of the play. Some props are borrowed; others props are built by the prop people; all must "fit" properly into the play. 

1. Reads the script and consults Director to determine props needed. 

2. Obtains stage properties and helps performers obtain hand props as necessary. 

3. Submits a projected property budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

4. Consults with the Properties Chairperson for availability of the Twin Beach Players owned furnishings. 

5. Have props available for use during rehearsals as scheduled by the Director and Producer. 

6. Ensures security of properties between rehearsals and performances and replaces broken/ineffective props as necessary. 

7. Promptly returns any borrowed or rented items at the end of the production. Check condition of and returns Twin Beach Players, Incorporated items to their proper place storage facility or as designated by the Properties Chairperson.

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LIGHTING MANAGER 

Lighting designers need an understanding of electrical equipment-- how to operate it and how to maintain it. They also need to know how light behaves, how to use various kinds of lenses to make the light focus properly, and how to find the devices which can effectively use light in creating setting or mood (gobos etc). The lighting designer also needs an understanding of pigment, color gels, and texture and how color in light interacts with both pigment and texture to achieve a given effect. 

1. Submits a projected set lighting budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

2. Reads the script and becomes familiar with lighting requirements of the production. 

3. Consults Director and Producer to establish basic and special lighting effects needed for the production. 

4. Observes early rehearsals, consults with Set Designer and prepares lighting schemes to ensure all necessary areas are lit appropriately. 

5. Ensures that script is appropriately marked with all lighting cues. 

6. Obtains and assigns tasks of the light crew. Supervises the setting and operation of lights by the light crew during rehearsals and performances. Setting lights is limited to placing, aiming and changing gels. 

7. Ensures that lights are set and adjusted according to the schedule established by the Director and Producer. 

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SOUND EFFECTS MANAGER 

Closely associated with the lighting crew are the sound and special effects people. Sound effects may range from playing recorded music to creating any imaginable strange sound effects to augment the lines in the show. Special effects may come in the area of light and sound, or they may require the production of puffs of smoke or fog covering the stage. Some knowledge of chemistry is vital to the special effects person. 

1. Submits a projected sound budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

2. Reads the script and becomes familiar with sound requirements of the production. 

3. Consults Director and Producer to establish basic and special sound effects needed for the production. See Property Manager for current inventory of "sound effects" music. 

4. As necessary, tapes or otherwise prepares sound effects. Marks all sound cues in script. 

5. Selects and presents to the Director and Producer incidental or "mood" music to be played before performance and during intermissions. See Property Manager for current inventory of 'mood" music. 

6. Operates, or arranges for operation of, audio equipment during rehearsals and performances. 

7. Ensures that all sound effects and incidental music are ready for use according to the schedule established by the Director and Producer. 

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MUSIC DIRECTOR 

If the production selected happens to be a musical instead of a play, in addition to those crewmembers above the show requires a Music Director, a Choreographer and possibly an Orchestra Director. It also demands the development of these skills on the part of the actors in the show. Blending memorized lines with song and dance is a very demanding art form but is very popular with audiences. 

1. Submits a projected music budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

2. Reads the score and libretto to become thoroughly familiar with the production. Advises the Director and Choreographer on musical interpretations and performances. The Director's decisions take precedence. 

3. Make necessary changes in the score after consulting with the Director. 

4. Attends auditions and advises Director on casting. 

5. Rehearses musical numbers according to schedule set by Director and Producer. 

6. If no accompanist is present, plays piano or arranges for a substitute for rehearsals and performances. 

7. Consults with Choreographer on artistic questions of mutual concern. 

8. As necessary, secures and directs any additional musicians. 

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CHOREOGRAPHER

1. Submits a projected choreography budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

2. Reads the score and libretto to become thoroughly familiar with the production. Advises the Director and Music Director on dance interpretations and performances. The Director's decisions take precedence. 

3. Attends auditions and advises Director on casting dancing roles. 

4. Devises dance routines for solo performances and production numbers, within the capabilities of the cast and decisions of the Director. 

5. Rehearses dance routines according to the schedule set by the Director and Producer. 

6. Consults with the Music Director on artistic questions of mutual concern.

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COSTUME MANAGER 

The costume designer needs an understanding of fabric and how it behaves. In determining what fabric should be used for costumes the costumer must be aware, not only of texture and color but also of how the fabric drapes and/or flows when made into a given costume design. Frequently the costumer will be called upon to create patterns because (particularly when doing period plays) no patterns may exist for the necessary costume. In addition to design the costumer must also understand clothing construction. Costume design usually requires knowledge beyond that necessary for simply putting together a dress or a pair of pants; it requires that the construction withstand the rigors of performance. 

1. After examining the Twin Beach Players, Incorporated costumes and drawing useable costumes from the Properties Chairperson, makes, borrows, buys or rents costumes as needed. Submits a projected costume budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

2. Reads the script and becomes thoroughly familiar with the costuming requirements of the production. 

3. Researches costuming for the location and period. Discusses costume design with the Director and Producer to establish appropriate costuming for the production. 

4. Arranges for dressers for performers, as needed. 

5. Ensures that costumes are ready according to schedules established by the Director and Producer. 

6. Ensures that any necessary costume repairs are made during the run of the production. 

7. Promptly returns borrowed and rented costumes at the end of the production and returns Twin Beach Players costumes to storage as directed to the Properties Chairperson. Ensures that all costumes have been washed or dry cleaned before returning to storage or owners.

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MAKE-UP MANAGER 

The Make-up Manager has the opportunity to create stage make-up and hairstyles ranging from "straight make-up" to highly stylized characterizations. The creative imagination and study on the part of the make-up manager and staff help tell the story of the play.

1. Submits a projected make-up budget for review by the Producer no later than the date specified by the Producer. NO EXPENSES SHALL BE INCURRED WITHOUT THE PRIOR APPROVAL OF THE PRODUCER. 

2. Reads the script for description of various characters in the production attends early rehearsals to see cast members and consults with the Director and Producer to determine make-up requirements. 

3. Personally examines make-up supplies well in advance of dress rehearsals (or special make-up rehearsals, if any) and discusses any make-up needs with the Director and the Producer. 

4. Makes up or arranges for a cosmetic crew to make up the performers, particularly those requiring special or unusual make-up. Instruct members of the make-up staff or the performers on doing make-up as needed. 

8. With the Director, checks are made-up performers under stage lights before final Dress Rehearsal (and in accordance with the schedule established by the Director and Producer) to ensure that make-up is correct. Make any changes necessary or advises the performer of any necessary adjustments. 

9. Ensures that the make-up area in the designated Green Room is cleaned before the production and after each performance. 

10. Sets up make-up schedule for dress rehearsals and performances and posts the schedules or otherwise makes sure that performers are aware of when they are expected in the Green Room to be made up. Informs the Stage Manager or Producer of any performer who consistently misses their make-up calls. 

11. Inventories make-up at the end of the production and informs the Properties Chairperson of the status of make-up supplies.

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Committees:

Election Committee: Marc Goodman

Membership Committee (Membership Chairperson) – Vacant (Acting Membership Chairperson - Secretary of the Twin Beach Players Board of Directors), Committee Members: 

Production Committee (Production Chairperson) – Sid Curl, Committee Members: Janine Naus

Property Committee (Properties Chairperson) – Sue Walker, Committee Members: 

Publicity Committee (Publicity Chairperson) – Vacant, Committee Members: 

Script Reading Committee (Script Reading Committee Chairperson) – Jeff Larsen, Committee Members: Sherry Hall, Luke Woods 

Sponsorship Committee (Sponsorship Chairperson) – Kay Hart, Committee Members: Janine Naus

Treasury Committee (Treasurer Chairperson) – Ike Sigurdsson, Committee Members: Chuck Eaton

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TWIN BEACH PLAYERS, INCORPORATED
P.O. Box 600
Chesapeake Beach, MD 20732

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