RESPONSIBILITIES FOR PRODUCER, DIRECTOR, 
MUSIC DIRECTOR, CHOREOGRAPHER, AND ASSISTANT DIRECTOR

A PRODUCER is the liaison between Board and director. A producer advises and assists the director in meeting Board expectations, including but not limited to
•	Procedures
•	Time lines
•	Budget expenditures
•	Harmony of cast and crew
A producer may offer services and assistance to the director other than those above.

The producer will:
Before auditions:
•	Attend the season production meeting and the show’s initial production meeting.
•	Confer with the director for an understanding of the production well in advance of auditions.
•	Work with the directorial team to produce a tentative rehearsal schedule prior to auditions.
•	Schedule production meeting(s) with the technical chairs prior to auditions to review duties of chairs, share budget information, and establish a timeline for completion of tasks.
•	Review the audition form to see if there is information to be added that is unique to this production.
•	See that audition forms and tentative rehearsal schedule are printed or posted in a timely manner.
•	Coordinate with operations manager for dates and spaces for auditions and rehearsals.
•	The producer will be responsible for carrying out any contractual mandates for each show along with the director.
At auditions:
•	Make sure that forms, pencils, etc. are available and be available to assist the director.
•	Assist with the auditions (distributing forms, collecting information, managing flow, maybe taking photos of those auditioning)
After auditions:
•	Email thank you to individuals not cast encouraging them to help in other ways (office has templates).
•	Insure that all cast/crew have completed Central Registry request and check each cast/crew against Sexual Offender Registry.
•	Discuss the progress of the show with the director at least once a week outside of rehearsal times. 
•	Attend the first rehearsal with the following: rehearsal schedule, performance agreement, photo release, ticket policy information, scripts, and code for the back door. (Remind cast not to share the code with anyone.) NOTE: If there are any minors involved in the production, Central Registry Forms must also be completed at this time.
•	Prepare a cast and crew list, with contact information, to be distributed at the first rehearsal.
•	Provide a cast list for the marketing chair and the office as soon as the show is cast, including the hometown for each member.
•	Turn in all audition forms to the office manager.
•	Collect cast and directorial team bios to complete ‘In the Dressing Room’ which is shared with the program chair according to the established timeline.
•	Arrange for cast photos for the program.
•	Contact book holder with schedule.
•	Contact marketing for media coverage dates.
•	Ensure execution of the assigned duties of the production staff according to the timetable.
•	Maintain the budget for the production and sign off on purchases, charges, and reimbursements, insuring expenses remain in line with budget.
•	Collect information from the production staff to complete their portions of the program, including director’s notes, crew members, special thanks, etc.
•	Arrange with the box office chair for advanced ticket sales for cast and crew according to ticket policy.
•	Contact the BCP photographer to establish a date for production photos which will be displayed in the lobby, and a cast photo to be reproduced as a give-away to the cast and crew at the Board Recognition.
•	Coordinate with appropriate board representatives to schedule the Board Recognition.
Two weeks before opening:
•	Proofread the program before it goes to the printer.  The director should also be allowed to check the director notes and any other part of the program which is of interest to him/her.
•	Meet with operations manager regarding preshow speech.
One week before opening:
•	Distribute dress rehearsal tickets to cast.
•	Let operations manager know show run times and intermission times, and any signage needed for posting in the lobby (e.g. use of smoke, strobes, loud noises).
•	Run final check with crew chairs insuring that all tasks are being completed, and all questions answered.
•	Request check(s) from Treasurer to pay director(s), choreographer and orchestra if there is one.
Week of production:
•	Arrange for strike in consultation with director, stage manager, and construction chair of next production. Be sure to include wiping out the refrigerator and picking up cigarette butts outside.
•	Remind all chairs to submit final reimbursement forms.
After the production:
•	Arrange for return of all rented scripts (where applicable), librettos, borrowed or rented properties and costumes.

A DIRECTOR of a production is responsible for elements of production including but not limited to:
•	Carrying out any contractual mandates for each show along with the producer.
•	Attending season production meeting and show’s initial production meeting.
•	Interpretation of script. 
•	Defining procedures to reach that interpretation.
•	Defining concept and explaining how it satisfies the director’s interpretation.
•	Design, to include: Setting, lighting, costuming, properties, sound, special effects, music and/or 	dance when applicable.
•	Sharing needs and desires with crew chiefs.
•	Harmony of cast and crew, amongst themselves and with the production team.
•	Working within budget constraints.
•	The director should discuss the progress of the show with the producer at least once a week. 
A director may solicit and assign elements of interpretation with crew chiefs. The director will contact crew chiefs frequently as to progress.

A director is encouraged to select and work directly with an ASSISTANT DIRECTOR. An assistant director is intended to work with the director in order to understand and assist the director’s interpretation/concept. An assistant director’s responsibilities may include:
•	Attending initial production meeting.
•	Aiding in directorial responsibilities as requested by the director.
•	Assuming directorial responsibilities in the absence of the director.
•	Helping to maintain harmony of cast, crews, and production team.

A MUSIC DIRECTOR of a production is responsible to work with the director in order to understand and assist the director’s interpretation/concept. A music director is responsible for:
•	Attending initial production meeting.
•	Advising the director during casting.
•	Coordinating a rehearsal schedule with director and choreographer.
•	Locating required musicians.
•	Rehearsing musicians adequately.
•	Teaching and rehearsing singers within a production.
•	Working directly with the choreographer in order to co-ordinate elements of dance and music.
•	Providing recorded rehearsal music for the choreographer.
•	Maintaining the tempo of dance rehearsal music during performances.
•	Harmony amongst musicians. 
•	Harmony with other elements of production.
•	Providing incidental music imposed by the director.
•	Working within budget constraints.
A music director may assign responsibilities to assistant(s) but remains responsible for the results of the assignment. 

A CHOREOGRAPHER of a production is responsible to work with the director in order to understand and assist the director’s interpretation/concept. A choreographer is responsible for:
•	Attending initial production meeting.
•	Advising the director during casting.
•	Coordinating a rehearsal schedule with director and music director.
•	Working directly with the music director in order to co-ordinate elements of dance and music.
•	Creating all dance elements within a production, including incidental movement imposed by the director.
•	Rehearsing dancers adequately.
•	Working with director and costumer to insure safe and satisfactory coordination.
•	Working within budget constraints.
A choreographer may appoint an assistant or dance captain but remains responsible for 	the results of the appointment.