Chapter 4:

Who Makes the Magic Happen?: The Roles Behind the Curtain

Introduction

When we think about theatre, it’s easy to imagine the actors onstage, speaking lines and bringing characters to life. But theatre is, and has always been, a collaborative art form. For every person onstage, there are dozens working offstage and behind the scenes—creating the environment, maintaining safety, building worlds, and ensuring the show runs smoothly. In this chapter, we’ll meet the team of unsung heroes who bring theatrical magic to life.

Imagine a theatre production as a complex machine. The director and designers shape the vision, but the crew, technicians, and coordinators are the gears that make it move. But making theatre isn't just about artistry—it's also about access. As we learn about the many roles in theatrical production, we must also consider how inclusion, accessibility, and universal design can be embedded in every part of the process. Inclusive theatre doesn't happen by accident. It is built intentionally by teams who prioritize care, collaboration, and community.

Designer Roles

Scenic/Set Designer
Responsible for the physical world of the play, including backdrops, platforms, and furniture. They translate the director’s vision into a three-dimensional space that supports the story.

Costume Designer
Builds the visual identity of each character through clothing, shoes, and accessories. Costumes help tell the story of who a character is, when and where the play is set, and how the character relates to others.

Lighting Designer
Shapes the audience's focus, mood, and atmosphere through the control of light and shadow. Lighting helps establish time of day, emotional tone, and even character arcs.

Sound Designer
Creates and manipulates all auditory elements of the production, from ambient noise to underscoring and special effects. The sound designer builds the auditory world of the play.

Props Designer/Manager
Sourcing, designing, or building any handheld or movable object an actor uses. This includes anything from books and cups to weapons and magical artifacts.

Media or Projections Designer
An increasingly vital role, responsible for digital content that may include projections, video, or interactive design. These elements can extend the scenic environment or tell part of the story.

Hair & Makeup Designer
Designs character-specific looks that can age a character, transform their identity, or express cultural and narrative clues. They may also handle specialty makeup like blood effects or prosthetics.

Technical and Construction Roles

Technical Director (TD)
The TD oversees all technical elements of a production, managing build timelines, safety, budget, and communication between designers and technical staff. They ensure everything in the design is physically possible and built to code.

Lead Carpenter / Scenic Charge
Leads the construction or painting (respectively) of the set based on the scenic designer’s drawings. They work closely with the TD and scenic designer to meet deadlines safely and efficiently.

Shop Foreperson / Lead Technician
Often leads smaller shop crews and ensures the day-to-day operations are completed according to plan, often specializing in areas such as lighting or sound.

Rigging and Fly Crew
Manages systems that move scenery, lighting, or actors safely through space—whether by pulley, counterweight, or motorized rigging systems.

Production and Logistics Roles

Production Manager
Responsible for overseeing the schedule, budget, staffing, and coordination between all departments. They make sure the production stays on time and on budget.

Stage Manager
The stage manager is the nerve center of the production. They run rehearsals, maintain communication among departments, track blocking, call cues, and ensure the show runs exactly as rehearsed every night. (More in the next chapter!)

Crew Chiefs / Run Crew
During performances, these are the folks moving scenery, operating spotlights, handling quick changes, or resetting props. Often assigned to specific tracks or areas.

Board Operators
Operate the light board, sound console, or projection system. Their job is to execute cues with precision and maintain consistency throughout the run.

Front of House & Box Office Staff
While not backstage, these folks ensure the audience has a smooth experience, from buying tickets to finding their seats. Ushers, box office personnel, and house managers play a crucial role in welcoming our community.

Inclusive Theatre Practices

Many of these roles have long histories tied to gendered or hierarchical traditions. In our classrooms and theatres today, it is essential to unlearn assumptions about who “belongs” in certain roles. Women, trans, and nonbinary folks, BIPOC artists, and disabled practitioners have historically been excluded or underrepresented in technical theatre. As we train new generations of theatre artists, we must reimagine these spaces as inclusive, supportive, and accessible for everyone.

Inclusive design is not just about aesthetic representation—it’s about rethinking systems. This includes building accessibility into every part of production. That means everything from scheduling rehearsals with rest breaks, to ensuring captioning and ASL interpretation is included in design conversations, to making sure the costume shop is navigable by wheelchair users. Universal Design for Learning (UDL) and disability justice principles can guide our practice—not only in the classroom, but in the rehearsal hall and on the stage.

If you’re new to this world, know that there is room for you here. Whether you love spreadsheets or scenic painting, are great with a wrench or passionate about organizing people, the backstage world has a role for you.

Accessibility and Inclusive Production Roles

Theatre should be for everyone—not just the audience, but the artists and technicians too. Creating accessible productions requires intention, creativity, and often a rethinking of traditional roles. Many companies now integrate additional roles focused specifically on access and inclusion. These may include:

Access Coordinator
This person ensures that accessibility is embedded in every aspect of the production, working alongside designers and management to implement accommodations for both cast and audience. They may coordinate ASL interpreters, create sensory-friendly performance protocols, and facilitate communication access.

ASL Interpreter / Shadow Interpreter
In productions that include Deaf performers or audience members, ASL interpreters may be positioned offstage or integrated into the performance (as shadow interpreters) to provide real-time translation.

Audio Describer
Audio describers offer live or pre-recorded narration describing the visual elements of the performance—sets, costumes, movement—for blind or low-vision audience members.

Captioning Operator
In charge of creating and projecting real-time open or closed captions during a performance. This might be done via a script-triggered system or manually cued.

Disability Consultant / Dramaturg
Advises the production on how to authentically and respectfully represent disability in content, design, and process. They may collaborate with the director, choreographer, or design team to support equitable practices.

Sensory-Friendly Performance Facilitator
Some productions designate relaxed performances designed to support neurodivergent or anxious audience members. These facilitators help adjust lighting, sound, and house rules while preparing staff and crew for inclusive audience engagement.

Production Assistant for Access
On productions involving artists or crew with disabilities, this individual helps implement individualized accommodations, such as managing adaptive equipment, modifying backstage pathways, or providing communication assistance.

By naming and honoring these roles as essential—not add-ons—we begin to shape a theatre industry that acknowledges and responds to the full spectrum of human experience.

Designing with Access in Mind

Accessibility is not a limitation. It is a creative design principle that invites us to think expansively about how theatre functions and who it serves. Each production choice—from font size on projections to the materials used in a costume—shapes who can engage with and contribute to a theatrical experience. Designing with access in mind is not about reducing creativity; it’s about deepening it by considering multiple ways of knowing, navigating, and performing.

Scenic Design: Scenic designers can make choices that reflect both artistic vision and physical inclusion. Consider the varied body types and mobility needs of actors and crew when planning scenery. Design platforms and ramps that accommodate wheelchair users without singling them out. For audiences, tactile models and touch tours provide essential engagement for blind or low-vision patrons.

Lighting Design: Lighting choices should support both the visual storytelling and the needs of a diverse audience. Avoid using strobing effects or sudden shifts in brightness that may trigger sensory discomfort or seizures. Ensure ASL interpreters and captioning areas are well-lit and visible throughout the show. Thoughtful cueing can align with accessible elements, like projections or audio description, enhancing the experience for all.

Sound Design: Accessible sound design begins with clarity and balance. Designers should ensure voice amplification is sufficient for all audience members, particularly those using hearing aids. Soundscapes should be carefully crafted to avoid overwhelming frequencies or competing layers that may be disorienting for neurodivergent folks. When possible, provide alternate formats like real-time captions or assistive listening devices.

Costume and Props: Costumes and props must accommodate a range of physical and sensory needs. Inclusive materials might include tag-free fabrics or items designed for ease of dressing. Magnetic or Velcro closures can replace buttons or zippers for quick changes or performer comfort. Prop designers should collaborate with actors to ensure that all items are safe, comfortable to handle, and integrated with assistive devices when needed.

Media and Projections: Digital media can be an excellent tool for increasing access—when designed intentionally. All dialogue presented via projection should be captioned clearly, with high-contrast fonts that are easy to read at a distance. Consider translating projections into multiple languages or using visuals to reinforce audio content. Avoid placing text over busy backgrounds and ensure timing allows for full comprehension.

Creating inclusive theatre requires more than just accommodations—it demands a cultural shift. Building a culture of belonging means rethinking how we cast, rehearse, design, and welcome others into our creative spaces. It means challenging outdated norms about who belongs backstage and onstage, and it means listening to the needs and experiences of those who have historically been excluded.

Universal Design for Learning (UDL) offers a framework for designing theatre education and production environments that are inherently flexible and accessible. Rather than retrofitting access after the fact, UDL encourages us to begin with a wide range of participation in mind. Disability justice further teaches us that access is not a checklist—it’s a relational, evolving process grounded in care, interdependence, and community.

The backstage world has a place for everyone. Whether you are most comfortable with a wrench, a script, a spreadsheet, or a sewing machine, your skills matter. And when we prioritize access and inclusion, we don’t just accommodate needs—we expand what’s possible in the world of theatre. We make space for more stories, more voices, and more magic.

Conclusion

Theatre is a team sport. Every light cue, quick change, sound effect, and set change is the result of a network of artists and technicians working together with precision and care. By learning about these production roles, you begin to see how expansive and creative the world backstage truly is. More importantly, you start to recognize that your interests—whether technical, artistic, organizational, or community-focused—have a place here.

Understanding these roles also helps us honor the full ecology of theatre-making. No role is more important than another. Each contributes to the shared goal of telling stories that move people. Whether you find yourself behind a lighting board, painting scenery, leading rehearsals, or advocating for accessibility, your work is vital to the theatre’s collective magic.

Showcase Your Learning

Assignment Objective:

Students will demonstrate their understanding of the wide range of production roles in theatre by applying their knowledge creatively, reflectively, or analytically using a medium that best supports their learning style and interests.

Assignment Rationale:

Designers and technicians must explore the collaborative nature of theatre through the lens of production and technical roles. Whether you are drawn to visual design, advocacy, research, or creative writing, you’ll have the opportunity to connect this chapter’s concepts to your lived experience, career interests, or community needs.

Choose your Assignment:

Choose one of the options below to showcase your learning.

1. Design Your Dream Team: Create a visual map, digital slide deck, or poster that outlines your ideal production team for a play or musical of your choice. Include at least eight roles, their responsibilities, and how each one supports the overall vision. You may include real-world professionals, classmates, or fictional figures in your team.
2. Access Advocacy Plan: Write a proposal or design a presentation for a school or community theatre project that centers accessibility. Identify at least three access-related roles or accommodations, explain why they are necessary, and describe how they will be implemented during the production process.
3. Behind-the-Scenes Zine or Infographic: Design a zine or infographic that introduces one backstage role to someone unfamiliar with technical theatre. Use visuals and clear language to explain the tools, challenges, and impact of the role. This should be accessible, engaging, and educational.
4. Role Analysis Profile: Choose one production role (e.g., stage manager, scenic designer, rigging technician, access coordinator) and write a short research profile. Include their responsibilities, key skills, common tools, and career pathways. Interview a professional in this role if possible.
5. Personal Reflection Essay: Write a reflective essay (750–1000 words) exploring your past experience in a team setting. What role did you naturally take on? Which theatre production roles from this chapter resonate with you, and why? How might your personal or cultural identity influence your approach to backstage work?
6. Theatre Org Chart Remix: Research the organizational structure of a professional theatre company. Then, remix the structure to make it more inclusive and accessible. Annotate your chart with notes about new roles you’ve added (such as access coordinators or cultural consultants) and explain how these changes improve equity and collaboration in the production process.
7. Roll the Dice! Let the fates decide.

All designs must include the following:

• A written artist statement (200–300 words) explaining your concept, process, and how technology enhances the storytelling. Be sure to reflect on intention, audience impact, and any accessibility or sustainability considerations you made.
• Visual or multimedia documentation such as sketches, cue sheets, screenshots, slides, diagrams, or videos. Your materials should clearly communicate your design or technical approach.
• Citations or sources for any images, sound files, or software used—especially if you reference specific productions, apps, or tutorials.
• Reflection question (1–2 sentences): What technology or idea from this project would you most want to try in a real production, and why?

Key Terms

Access Coordinator: A production team member responsible for ensuring accessibility is integrated into all aspects of a production, including rehearsal, performance, and audience experience.

ASL Interpreter / Shadow Interpreter: A person who provides American Sign Language translation of a performance. Shadow interpreters perform onstage in costume, following or shadowing the character they are interpreting.

Audio Describer: A specialist who provides live or recorded narration of visual elements (movement, costumes, scenery) to support blind or low-vision audience members.

Board Operator: A technician who operates a control board (lighting, sound, or projections) during rehearsals and performances, executing cues with precision.

Captioning Operator: A technician who provides open or closed captions during a performance, typically through a cue-based system.

Costume Designer: An artist responsible for designing the clothing, accessories, and overall appearance of each character to reflect time period, personality, and story.

Crew Chief: The leader of a backstage crew team (e.g., props, run crew, deck crew) who oversees specific technical operations during a performance.

Disability Consultant / Dramaturg: A specialist who advises a production team on accurate, ethical, and inclusive representation of disability in content and process.

Front of House Staff: Personnel who work in audience-facing roles, including ushers, box office attendants, and house managers.

Hair & Makeup Designer: Designs and applies the hairstyles, wigs, and makeup necessary for character transformation and storytelling.

Lighting Designer: Designs the lighting for a production, using color, intensity, movement, and shadow to shape the mood and focus of each scene.

Master Carpenter: The lead builder in the scene shop responsible for constructing scenery according to the technical drawings provided by the scenic designer.

Media / Projections Designer: Creates digital content such as video, projections, or interactive visuals that integrate into the scenic design or performance.

Production Manager: Oversees budgeting, scheduling, staffing, and coordination across all departments in a theatre production.

Props Designer / Manager: Sources, designs, or builds any object handled or used by actors during a performance.

Rigging / Fly Crew: Operates and maintains overhead rigging systems that move scenery, curtains, or people safely during a performance.

Run Crew: Backstage technicians responsible for moving scenery, handling props, and completing scene transitions during the show.

Scenic Designer: Creates the physical environment of the play, including sets, backdrops, and stage architecture that support the story and staging.

Sensory-Friendly Performance Facilitator: A team member who helps adapt performances to be accessible and welcoming for neurodiverse audiences.

Shop Foreperson / Lead Technician: Supervises daily activities in technical shops (scenic, lighting, sound, costume), ensuring projects are completed on time and safely.

Sound Designer: Designs the auditory landscape of a show, including ambient sounds, music, and audio effects that support the story and emotional arc.

Stage Manager: Manages rehearsals, coordinates communication across departments, maintains the prompt book, and calls all cues during performance.

Technical Director (TD): Oversees the technical execution of the production, translating design ideas into buildable, safe, and budget-conscious realities.

Theatre Org Chart: A visual representation of how roles and departments are structured and interact within a theatre company.

Ushers: Members of the front-of-house team who assist audience members with seating and ensure safety protocols are followed.

Practical Pedagogy

References

Anderson, M. (2012). Teaching as a theatrical art: Re-imagining teaching and teacher education. Springer.

Brockett, O. G., & Ball, R. J. (2014). The essential theatre (11th ed.). Cengage Learning.

Hamraie, A. (2017). Building access: Universal design and the politics of disability. University of Minnesota Press.

Kuppers, P. (2013). Disability culture and community performance: Find a strange and twisted shape. Palgrave Macmillan.

Lavender, A. (2016). Performance in the twenty-first century: Theatres of engagement. Routledge.

McNiff, J. (2020). Action research for professional development: Concise advice for new action researchers (3rd ed.). Routledge.

National Endowment for the Arts. (2021). The arts and accessibility: A cultural planning toolkit. https://www.arts.gov

Rose, D. H., & Meyer, A. (2002). Teaching every student in the digital age: Universal Design for Learning. ASCD.

Sandahl, C., & Auslander, P. (Eds.). (2005). Bodies in commotion: Disability and performance. University of Michigan Press.

Smiley, S. (2021). Introduction to theatre design. Routledge.

Taylor, M., & Warner, C. D. (2009). Theatre for youth: A guide to professional practice. University of Chicago Press.