Technical Tuesday

A little bit about Karlos Smith...

Technical Director

College: The Ohio State University
Favorite Play/Musical: Broadway’s “Matilda”


Q: What are the technical requirements of a musical?
A: To my understanding, the technical requirements for a musical, or any show, can be divided into three categories: Sound, Lighting, and Set. 

“Sound” involves the overall output of information (the words the actors are saying/singing, the music of the orchestra, sound effects) to the audience, and as such, the goal is to make that sound as clear and coherent as possible, so that the audience can receive the information well enough to enjoy the show.

In smaller theatres, this can be done effectively through simple projection of the actors’ voices and the instruments of the musicians. However, large theatres typically demand that actors and instruments be amplified with microphones and speakers, which require individuals to regulate the frequency and volume of the sound so that the information is as clear and pleasant as the unamplified sound.

Lighting is also extremely important because it not only reveals/manipulates the world that the actors are trying to create, but also contributes to the moods and themes of each scene. Lights of different colors contribute to the show because they can inspire certain emotions or moods in the audience that allows people to relate to what is going on in each scene. 

Manipulating the lights of a stage puts the audience’s focus where the director wants it to be, whether through the use of a spotlight that follows a certain character or stationary lights that illuminate certain parts of the stage at different times. By manually shifting the focus, the story of the play becomes easier to follow because one is not overwhelmed by EVERYTHING going on. 

Every show needs a lighting technician to move it along. 

Lastly, “Set” is probably the biggest category in tech because it involves so many elements. 
Of course there is the background that shifts from scene to scene, as well as the set pieces (i.e. a doghouse, a fire hydrant) that attempt to make the scenes more three dimensional. There are also the various props that actors use within their scenes for plot development/authentication.  Set also includes visual effects, both digital and manual. 

Constructing and employing all of these elements obviously requires building resources/equipment (wood, paint, drills, tape, etc.) with the goal of creating a world where the action of the play can take place. This often requires a lot of delegation and collaboration so that individuals’ skills are used effectively, but the ultimate vision remains intact. 


Q: What kind of people are you looking to fulfill different technical positions in the show? What experience should they have? What advice would you give to someone looking to get involved in technical theatre?
A: Those interested in being a part of a technical crew should have (or at least be able to fake) these qualities:

Listening skills: As a member of a crew, the main part of your job will be to follow the directions of your director and/or supervisor. You have to be able to receive/understand what is needed and execute.
Flexibility: Sometimes those directions will change within a matter of seconds. You need to be able to adapt to what is required of you at any moment.
Creativity: No matter what your position, problems are going to come up and you should have the ability to come up with a solution.
Patience/Self-control: Working with a group of people is stressful, but you have to keep a cool head and calmly work towards solutions.

Having any experience with light, sound, or construction equipment goes a long way in helping the technical crew, but most of the skills required can really be learned as one goes along. 

The biggest piece of advice I can think of as pertaining to be a part of a technical crew goes back to the quality of flexibility. Not only should you be able to adapt o directions, you should be able to adapt to whatever role that you are asked to fill. Theatre is a huge commitment and those who can’t handle that commitment tend to drop out. If you are one that can handle it, it’s best not to be fixated on doing one thing, but rather develop competency in all technical areas so that you can help in any way that the show requires.


Q: You are helping to design the set for The Wizard of Oz (R.S.C.). What challenges have you had to overcome throughout the design process?
A: In designing the set, the main challenge is developing a concept that adequately creates the world of the play while also taking into account the resources available to you. When one is limited in resources and space as we are, the scale of the concept has to match up with those factors. The process involves a healthy mix of creativity and practicality.


Q: Without giving anything away, what part of the set are you most excited about?
A: The part of set that I’m most excited about is definitely the visual effects. The puzzle of how to simulate the Twister and the Witch’s fire should be challenging but fun to solve.




The Wizard of Oz (R.S.C.) performances dates are July 31st at 7pm, August 1st at 7pm, and August 1st at 2pm.
Tickets? Click here or call 1-800-965-9324. 
Questions? Email us at gutsforglorytheatreco@gmail.com