CBCP Production Manager Job Specification

Selection: Appointed or selected by the Committee for a specific production, in consultation with the Director (choice of production will be subject to the approval of the Committee).

Role and responsibilities:
1. Has responsibility for assembling and co-ordinating the Production Team. Ensuring the production takes place safely, on time and within budget. This must be within any constraints imposed by the licence to perform the specific production or by the Committee and in accordance with the Director.
2. Should report to and liaise with the Committee, as appropriate.

1. In consultation with the Committee and Director, agree the arrangements regarding dates of production, venue etc., check that the appropriate licences have been obtained (worth discussing requirements with Director beforehand or apply for licence together) and ensure that bookings are made. If the production is at The Elgiva, this will need to be done a year in advance.
2. Devise a production budget of revenue and expenditure, including recommendations for ticket and programme prices, and submit this to the comittee for approval.
3. Seek authorisation from the Committee for any members of the Production Team who may require payment of a fee or travel expenses.
4. If the production is at The Elgiva, check with the Director/Stage Manager where the sound desk is to be located. If in the auditorium, then the seats where it will be situated will need to be reserved for all performances – ensure the Box Office is informed before tickets go on sale.
5. Recruit the Production Team*,with the agreement of the Director.
6. Ensure job descriptions, where available are given to those appointed to speceific roles in the production, regardless of experience.
7. If children are to be in the production ensure wording of audition notice/any forms make clear that parents must attend when children are auditioning and help during the rehearsals/performances.  Children must be taken into the audition/reherasal/performance venue and collected from there.  Liaise with the CBCP Safeguarding Officer.
8. Ensure that auditions are held in accordance with the Society’s protocols.
9.  Liaise with the Production Secretary regarding chaperones for productions with children in the cast.  Dates of birth to be provided to the County Council for under 16s.
10. Submit the names of cast to the Newsletter Editor once known to notify the membership.

11. Arrange regular meetings throughout the rehearsal period with the Director and Stage Manager and relevant people.  Ensure all members of the Production Team know that production management should not impede reherarsals.

12. Liaise with the Committee to ensure artwork, posters, banners are available for publications/display as and when required. (NB some deadlines are very early on in the process.)
13. Devise a production schedule in consultation with the Production Team.
14. Liaise with the Treasurer to ensure release of funds when payments are required in advance.
15. Decide on arrangements for the purchase/copying/issue/return of scripts/scores/librettos/sheet music/CDs, etc. (some of this is affected by the licence agreement).
16. Ensure that rehearsals and performances satisfy regulations regarding health and safety, fire, seating capacity, PAT testing, safeguarding, copyright, etc., conducting risk assessments as necessary.
17. Ensure that all members of the Production Team are aware of their duties and provide appropriate support and monitoring to ensure these are carried out.
18. Ensure that the Treasurer receives all bills to be paid or to be reimbursed not later than four weeks after the last performance.
19. Ensure the safe return of all props, furniture, and furnishings, etc. and all scripts/scores/librettos/sheet music/CDs as appropriate. (NB rented scores/librettos often have to be returned within 14 days of the last performance. Get cast to remove any markings during ‘off stage’ time during performances or during get-out – provide erasers if necessary.)
20. Ensure that letters of thanks are dispatched as necessary.
21. Submit a written report covering all aspects of the production asap after the run.

* Full Production Team
(not all will be required for every production, nor for every meeting)
Production Manager
Production Secretary/Assistant Production Manager
Stage Manager
Assistant Stage Manager
Lighting Director
Sound Director
Musical Director
Head of Wardrobe
Production Secretary
Properties Manager
Assistant Director
Publicity Manager:
Front of House Manager
Head of Construction
Set Designer/Scenarist
Head of Make-Up
Box Office: The Elgiva or web-based arrangements for LTBP organised by production team
Revised August 2016

CBCP Director Job Specification
Appointed or selected by the Committee for a specific production (choice of production will be subject to the approval of the Committee).

Role: Has overall responsibility for all artistic elements.

1. Cast the production and contact the cast with the results.
2. Ensure that rehearsals are planned, prepared and conducted in such a way that the production will be ready for performance on time.
3. Produce a rehearsal schedule, including the musical director and choreographer (if appropriate to the production), to ensure effective use of rehearsal time by planning who is needed and when. This includes cast and members of the Production Team, as appropriate.
4. Update the rehearsal schedule, as appropriate, during the rehearsal period, taking account of developing needs and restrictions.
5. Ensure that adequate notice is given to cast about changes to the rehearsal schedule and that this is communicated in the most effective and appropriate way.
6. Bring the production to fruition, taking into account budget, space, technical considerations, resources, etc.

Prior to the performance period:
1. Become thoroughly familiar with the script and develop a clear understanding of the finished production, bearing in mind the venue and other known restrictions.
2. Appoint a Production Secretary and Assistant Director as required.
3. Attend all necessary meetings of the Production Team.
4. Decide all requirements of the auditioning process.
5. Ensure rehearsals start promptly, run smoothly and efficiently, in line with the latest rehearsal schedule.

During the performance period:
6. Agree a plan for the Band Call (if appropriate) with the Musical Director.
7. Provide a plan for the Technical Rehearsal with the Stage Manager, ensuring that only relevant performance elements are included (cast entrances and exits, lighting and sound needs, checking suitable space for dance routines, quick costume changes, etc.).
8. Be available during the Get-In so that the Stage Manager can discuss requirements, problems and questions as they arise.
9. Run the Technical Rehearsal with the Stage Manager.
10. Agree the format of the Dress Rehearsal with the Stage Manager, including run through notes. Only intervene in the Dress Rehearsal under exceptional, unavoidable circumstances.
11. During the actual performance run provide feedback to the cast.
Revised August 2016

CBCP Production Secretary/Assistant Producer Job Specification

Selection: Recruited by the Production Manager for a specific production and approved by the Committee.

Role: Assists the Director in administrative tasks associated with directing the production.

1. Carry out all administrative aspects of the auditioning process.
2. Carry out all administrative tasks to support the Director’s role during the rehearsal period.
3. Assist, with appropriate record-keeping during rehearsals, to ensure consistency from one rehearsal to another.

1. In accordance with instructions from the Production Manager, call the audition(s) on behalf of the Director, giving details of audition requirements and adequate notice of date, time and venue.
2. Attend the audition(s) and take note of names, ages, contact details and membership of those present. Non-membership should be dealt with according to latest Society rules and protocols.
3. Liaise with Production Manager/Safeguarding Officer regarding chaperone provision if children are in the cast.
4. Compile a cast list, including dates of birth for under 18s, for the Production Manager to send to the County Council.
5. Produce sign-in/sign-out sheets for cast members and anyone else attending rehearsals to complete.
6. Ensure the sign-in/sign-out sheets are completed and collect them at the end of the rehearsal.
7. During rehearsals, keep records of the Director’s decisions and instructions to cast and crew about staging, blocking, movement, scene changing, costume, props, etc. to ensure consistency from one rehearsal to another.
8. If there is to be a break during a rehearsal, ensure that refreshments are available, kettles boiled, arrangements made for covering costs, if applicable, and that all is cleared away afterwards.
9. Carry out other administrative tasks, as appropriate, to support and assist the Director during the rehearsal period.
Revised August 2016

CBCP Stage Manager Job Specification

Selection: The Stage Manager is selected for a specific production by the Production Manager and approved by the Committee.

Role: During the performance period (commencing with the Get-In), the Stage Manager takes over responsibility for all safety, technical aspects of the production, overriding all others involved.

1. Ensure the safety of all involved.
2. Ensure everything runs efficiently and smoothly.
3. Co-ordinate all technical and artistic aspects of the production.

Prior to the performance period:
1. Attend relevant meetings of the Production Team.
2. Be entirely familiar with the venue, understanding the requirements of all aspects operating there.
3. Attend sufficient rehearsals as requested to be able to advise on safety and technical issues arising from the Director’s proposed staging and to rehearse selected technical aspects, with other stage crew as appropriate.
4. Be familiar with the script, and actions involved in the production and the stage and set layouts as provided by the Producer/Director.
5. Recruit an Assistant Stage Manager and other stagehands as required.
6. Agree a plan for the Technical Rehearsal with the Director.
7. Ensure there is a clear plan for the Get-In (including transport, lighting, sound, set, flame-proofing as required, facilities for band and, if possible, initial practising by stage crew) and that there will be sufficient and appropriate people available. Keep Production Manager informed of arrangements.
8. Liaise with venue staff regarding time for Get-in.
9. Ensure all electric and pyrotechnic certificates are obtained if needed.

10. Inspect the venue with the Lessor in order to note (and agree) dilapidations, taking particular account of electrical deficiencies, damage to curtains, etc.
11. Liaise with venue staff regarding any problems that may arise during Get-in.
12. Establish where the First Aid kit is kept and who to contact in case of accident, and make sure everyone knows.
13. Take charge of operations, ensuring the plan is implemented and people are usefully and effectively employed.
14. Make decisions as problems arise, liaising with the Producer and Director.

Between Get-In and Technical Rehearsal:
15. Ask for amended plans for Technical Rehearsal with the Director in the light of issues arising during the Get-In.
16. Prepare briefings (including safety elements) for stage crew, cast and musicians and decide when and how these will be given (including one to be given by theatre duty manager if applicable).  Give briefing orally to the cast, ensuring they are clear that the stage manager is now in charge of the procedings.
17. Prepare for the Technical Rehearsal.

Technical Rehearsal:
18. Give briefing (including safety briefing) to stage crew, check dressing room monitors are working, put up sign-in/out sheets for crew and, if time permits, rehearse key technical aspects with crew only.
19. Ensure that a familiarisation tour of the theatre is given to all those new to the venue.
20. Ensure sound checks (for all microphones) are carried out and that adequate time is allowed for them.
21. Run the Technical Rehearsal according to the planned schedule with the Director/Producer, ensuring technical aspects are sufficiently rehearsed and problems identified and rectified as time permits – always remembering that safety is paramount.
22. Ensure that any pyrotechnic equipment and firearms are safely tested in accordance with requirements and that any pyrotechnic effects and dangerous properties are properly and securely stored throughout the run.
23. Arrangements if cast are to be permitted to watch from the auditorium.  (NB. There may be some safety issues regarding low levels of light in the auditorium and unexpected trip hazards).

Dress Rehearsal:
24. Ensure that the musicians have received their safety briefing, if needed.
25. Unless extremely unusual circumstances dictate, the Dress Rehearsal should be treated by everyone involved exactly as a performance (see below).

26. Before each performance, ensure that the stage area (including backstage) is safe, the stage swept, everything in place and dressing room monitors working.
27. Ensure that everyone is present, including musicians, and decide what to do if not.
28. Ensure that beginners are called to the stage 5 minutes before the start of each Act, giving advanced warnings 30, 15 and 5 minutes before this call (usually delegated to the Assistant Stage Manager).
29. Once the Front-of-House Manager (Duty Manager at The Elgiva) has given clearance (i.e. the audience is seated and the auditorium ready), give the agreed signal for the performance to begin.
30. Liaise with the Production Team regarding announcement about switching off mobile phones etc. prior to performance commencing.
31. Co-ordinate all backstage operations during the performance to ensure the safe, efficient and smooth running of the performance, dealing promptly with issues as and when they arise.
32. In the event of an emergency requiring evacuation, notify the Front-of-House Manager (Duty Manager at The Elgiva) and ensure the safe evacuation of the stage and all backstage areas, including the dressing rooms and lighting/sound bases.
33. At the end of the performance, ensure the cast is safely clear of the stage and immediate backstage areas, as quickly as possible.
34. Before leaving the venue, ensure the stage and backstage areas are tidy, secure and safe and that all relevant equipment is switched off.

35. Organise and supervise the Get-Out, ensuring that cast and crew have appropriate jobs to do, that everything is cleared away safely and returned to where it should go, that the stage is left as required and the lighting restored to its default setting.
36. Inspect the venue, with the Lessor in order to note (and, if possible, agree) any dilapidations arising from the occupation and use of the venue by CBCP during the production.


• Nobody allowed in the backstage area unless involved with the show (this includes family, friends or other society members not directly involved with the show) unless escorted by the Stage Manager, their appointee or the venue staff.
• No alcohol permitted in the backstage area – this includes the orchestra pit and dressing rooms (all involved in the show should refrain from alcohol prior to and during each performance).
• Mobile devices of anyone on stage/in the vicinity of the stage to be switched off.
• No plug-in electrical items to be used unless agreed and tested in advance.
• Official safety briefing for everyone involved with the show (at The Elgiva, given by an Elgiva staff member) including:
o Evacuation procedure in case of fire or other emergency.
o Meeting point.
o Fire doors to be kept close.
o Corridors to be kept clear.
o Signing in and out (every time on entry to and exit from the premises).
o Familiarisation tour for those new to the venue.
o Cast only into auditorium when specifically requested.

Revised August 2016

CBCP Front of House Manager Job Specification 

Selection: Choice rests with the Production Manager/Secretary.

Responsibilities: To assist the Production Secretary in all matters relating to front-of-house (FOH) and to liaise with The Elgiva staff or production team at LTBP.

1. The FOH team is the face of Chesham Bois Catholic Players during performances. The team should be should be welcoming, courteous, obliging, informed and smart at all times.
2. Obtain from the Production Secretary all necessary information, e.g.
a. Details of production.
b. Dates and times of performances.
c. Number of intervals during the performance and duration.
d. What is happening during the interval(s), e.g. serving refreshments.
e. Total length of performance.
f. Seating arrangements (LTBP only).
g. Hall/table decorations, e.g. table coverings, items to be included on tables.
h. Dress code.
i. Any other duties to be carried out by FOH team, e.g. selling raffle tickets, handing out song sheets, etc.
3. Organise a rota of helpers, numbers appropriate to:
a. Venue, i.e. The Elgiva or LTBP.
b. Duties required, e.g. programme selling, ushering, raffle ticket selling, serving refreshments, etc.
c. Audience size, e.g. at The Elgiva a full house will require more help selling programmes and more ushers for the auditorium doors.
4. Ensure you and your team are familiar with the venue, e.g. where the toilets are, where the disabled toilets are.
5. Organise floats for programmes, refreshments and raffle, as required.
6. Liaise with the Stage Manager at the LTBP and Manager at The Elgiva regarding opening the doors to the auditorium.
7. To remain in the foyer once the performance has commenced to wait for and usher in late comers.
8. No alcohol to be consumed whilst undertaking FOH duties.

The Elgiva
1. Liaise with the Manager to check:
a. If any of their volunteers will be on duty and how many, as they will do most of the ushering/ticket collecting and sit in on the performances (they also man the cloakroom, serve the ice creams and clear the rubbish at the end of a performance). Therefore, fewer CBCP members will be needed to man the auditorium doors.
NB. There is limited seating at the sides of the auditorium for FOH team members. If there are enough Elgiva volunteers then there will be one sitting on each side which means only one more person per side is required.
b. What time to arrive.
2. The Manager will give a safety talk to the team, including what to do in the event of the fire alarm sounding. Should any of the team miss the talk then the FOH Manager should pass this information onto them.
3. CBCP Front of house badges must be worn.
4. The Manager should know of any special seating arrangements required before the performance. Wheelchair users are seated in the first row of the tiered section. Two seats are removed to allow room for the wheelchair. This is usually done before the audience arrives. NB. The wheelchair user will have someone accompanying them so they will have 3 seats allocated but only 2 people will be occupying the seats.
5. Ushers will be required to tear the tickets from the stubs. The stubs must be kept and given to the manager as this gives them the number of people in the auditorium – important in case of a fire etc. Make sure you don’t include the credit card receipt stub or the extra seat for wheelchair users.
6. Pantomime productions: Note any special welcomes/collect names for the birthday section and pass them onto Props who organises the list and gifts.

1. Liaise with the Production Team about the number of tables/seats required for each performance and organise a team to set up the hall.
2. Liaise with Production Team regarding any special seating requirements, e.g. wheelchairs/disabled persons, NODA representative, VIPs etc., and to welcome/attend to them.
3. Lighting: Check the exterior light is on and that the foyer is well lit.
4. Ventilation and heating: Check that the hall temperature is comfortable for the audience.
5. Toilets: Check that they are clean and in working order before the audience arrives.
7. No parking is allowed on the LTBP driveway during performances.
8. Early arrivals: If the hall is not ready to receive the audience then they will be asked to wait in the foyer. Ensure that this is done politely, explaining why they have to wait and that they are comfortable, providing seating if necessary.
9. Check with the Production Team who is making the announcement at the beginning of each performance regarding mobile phones, fire exits, etc.
10. Liaise with the Stage Manager regarding start of performance, i.e. have all the audience arrived, are there any late comers and how many, etc.
11. Ensure that the fire escape routes are kept clear and that the FOH team is aware of what to do in the event of a fire.
12. Once the performance has started, to ensure that doors are closed to the auditorium and, if the kitchen is being used as an entrance/exit, that the light is off when the door is opened.
13. If the kitchen is being used for refreshments, the noise level should be kept to a minimum during the performances.
14. Tablecloths: If being used, should be checked to ensure they are clean for every performance. Dirty cloths should be washed and returned asap. All used tablecloths will need washing after the final performance or the after show party.
15. Organise a team to help clear the chairs and tables and sweep the hall floor after each performance.
NB. It is worth finding out from the regular hirer if the hall is in use on the Saturday morning following a Friday evening performance, as you may be able to leave the hall set up if it is not being used. The hall can be left set up for the after show party if it is taking place here – check with the Production Secretary.

Revised August 2016

CBCP Publicity Job Specification

Role:  Shared between Committee members and Production Team/cast.  Responsible for organising and co-ordinating publicity for both the Society in general and for its productions.

• Organise and lead the publicity team.
• Publicise upcoming productions using a variety of media and methods in conjunction with Production Manager.
• Ensure information about CBCP (e.g. on websites) is as up to date and relevant as possible.
• Ensure pre-publicity photos are taken as necessary.
• To organise selling of advertising space in programmes and sponsorship of production as relevant.
• Oversee design of publicity material for all shows.
• Liaise with Programme Editor regarding programme production to ensure:
– adverts for forthcoming CBCP productions are included
– information regarding NODA is included
– paid advertising for inclusion in The Elgiva programme is organised
– it is proof read thoroughly

1. Publicising the Society:
a. Provide up to date general information about CBCP to those publications and websites listing details of amateur dramatics groups.
b. Be aware of opportunities to publicise CBCP and its productions.

2. For all Productions:
a. Liaise with Production Manager and Director to organise printing of production publicity material (posters, flyers, banners, etc., as appropriate). Ensure material contains relevant and necessary material.
b. To maintain, and expand as necessary, mailing address lists (addresses sent by Royal Mail, by hand, by email) to individuals, churches, groups, libraries, schools, etc.
c. Ensure distribution of publicity material via mailing lists, cast members, local shop windows and sites, local venues. Liaise with Our Lady’s School to promote each production via flyers in pupils’ bookbags and posters at school.
d. Liaise with Chesham Town Council regarding permission to display posters at roadsides (if/where applicable).
e. Full details of upcoming productions should be sent for inclusion to:
• CBCP Newsletter Editor for inclusion in all issues up to show.
• Relevant websites (CBCP; local media; local government, community and amateur dramatics).
• Local publications, newspapers and radio.
f. Arrange reviewers for productions (NODA rep and newspapers/publications) – any reviews should subsequently be sent with reviewer’s permission for inclusion in CBCP newsletter.
g. Liaise with Production Manager and Director to ensure a photographic record of each production is made. Images should be used in pre-publicity, if appropriate, relayed to CBCP Website Manager and Archivist.
h. Ensure copy of poster, flyer, programme and any subsequent photographs are given to archivist.
i. Organise displays publicising productions (e.g. Chesham Library and, if possible, local shop windows).
j. Organise promotional presence at local events, e.g. Church and school fayres, carnivals, Christmas evenings/events, as appropriate, and organise leaflet drops to promote production, as necessary.
k. Life members – ensure Box Office have an up-to-date list of Life Members who are entitled to one complimentary ticket each.
l. Programmes – liaise with Programme Editor to ensure necessary information is included (i.e. CBCP committee/contact details, NODA details, publicity thank you’s, advertisements and sponsor’s details, as appropriate.
m. Promote productions via the CBCP Facebook page and members Group page, and generally on local Facebook pages, etc. Also a Twitter CBCP/individual show account should be set up.
3. For Elgiva productions/pantomime (in addition to above)
a. Sponsor – try to obtain a sponsor(s) for a production to offset publicity costs as soon as possible (once agreed, sponsor’s logo and details will need to be printed on all publicity material and all obligations, as specified in sponsorship letter, must be fulfilled).
b. Liaise with Our Lady’s School:
• For permission to display banner publicising show. Organise printing and display of banner.
• To publicise production with stand at school fayre (possibly with main characters opening fayre), via PTA.
c. Liaise with The Elgiva:
• Ensure they are willing to display banner, organise printing and delivery.
• Regarding deadline for inserting details of show into their forthcoming events programme (sometimes can be included in Aug-Dec programme’s forthcoming events, if known early, in addition to Jan-July’s issue).
• Regarding inclusion of details onto The Elgiva’s website.
• Regarding display of photographs promoting production.
• Ensure CBCP Box Office/publicity team (as appropriate) have list of CBCP Life Members – each Life Member should be sent a letter entitling them to one free ticket which should be redeemed at Box Office.
• Deliver promotional material to The Elgiva as soon as possible.
d. Try to obtain agreement from estate agent to display boards around town.
e. Ensure wider mailing lists and display suggestions are implemented.

Revised August 2016