KC Rep: Lighting/Projection Supervisor

A word from Dan Earnest, Production Manager,
and April Brewer, Associate Production Manager

Lighting and Projection Supervisor

DEPARTMENT: Electrics 

POSITION: Lighting and Projection Supervisor 

REPORTS TO: Production Manager 

JOB TYPE: Full time, annual 

SALARY RANGE: $45,000-$55,000 

BENEFITS:  Health Insurance, 401k 

 

Job Description:

The Lighting and Projection Supervisor (LPS) manages all daily aspects of lighting and projection  operation and the coordination of technical elements for KCRep. This position directs and supervises lighting  and projection personnel, maintains the electrics and projection department’s equipment, and manages the electric shop. The LPS is  responsible for supporting the artistic vision of the directors and designers as it relates to the advancement, budgeting, and realization  of lighting and projection designs. 

Duties and Responsibilities:

  • Hiring, training, scheduling, and supervision of the Electrics department employees, including staff and over hire as required  to fulfill the responsibilities of the department. 

  • Effectively communicate and work closely with the Lighting Designers, Projection Designers, and Directors to materialize  their vision, within financial and scheduling constraints and available resources. 

  • Maintain effective communication with designers, stage management, and Production Department Heads to ensure smooth  installation and operation of all electrics department needs on a production. 

  • Generate, maintain, and distribute technical specification, drawings, and equipment inventories in a timely manner.

  • Create and implement work schedules, timecard approval, and maintenance schedules for staff and over hires.

  • Oversee maintenance, repairs, and inventory of all Lighting and Projection systems, equipment, and materials.

  • Manage Electrics Department budgets both annual and show. 

  • Coordinate with other Production Department Heads regarding use of space, show needs/requirements, and all  other KCRep needs to ensure all productions are maintained. 

  • Oversee the Master Electrician in preparation of the light plot and their creation of the required paperwork for load-in.

  • Research and locate sources for purchases and rentals of supplies for production specific projects.

  • Attend light hang, load-in, focus, Onstage Rehearsals, technical rehearsals, previews, and production meetings as assigned.

  • Coordinate with University of Missouri Kansas City theatre faculty in terms of gear usage, needs, and staffing for focus and  hang 

  • Stay up to date on new developments in theatrical lighting and projections technology. 

  • Preparation and updating of all required paperwork to track lighting designs. 

  • Maintain accurate payroll records for all Electrics employees. 

  • Help create and manage the Electrics budget, track expenses, and ensure all invoices and payments for vendors are  completed. 

  • Support and uplift KCRep’s mission, vision, and values, and demonstrate a dedication to the principles of Inclusion,  Diversity, Equity and Anti-racism (IDEA) work 

  • Attend Production Department Head and any other theater-wide meetings.  

  • Abide by all Kansas City Repertory Theatre policies and procedures. 

Qualifications: 

  • Experience at a professional performing arts company or related field in a supervisory role. 

  • Practical knowledge of technical theater to include lighting, projections, and rigging practices. 

  • Working knowledge of Microsoft Office Suite, VertorWorks, Lightwright, AutoCAD, and other theater related software.

  • Ability to create and hang lighting and projection plots. 

  • Programming knowledge of ETC family of consoles also to include moving lights, LEDs, DMX controls, atmospherics, ETC  Unison, and Ethernet networking systems. 

  • Knowledge of the maintenance, troubleshooting, and operation of ETC entertainment control systems.

  • Skills in troubleshooting and repair of intelligent lighting fixtures, dimmers, and other electrical equipment to the component  level, and to program that equipment via a lighting console. 

  • Attention to detail, accountability, and deadline oriented 

  • Ability to create and manage annual Lighting department budget 

  • Ability to determine and maintain Lighting and Projection production quality standards 

  • Interpersonal, communication, and supervisory skills 

  • Capacity to solve problems and engage in creative thinking about challenges; Ability to brainstorm ideas in a group setting.

  • Ability to work independently and collaboratively in a fast paced, rapidly changing environment.

  • Work nights, and work weekends and have good daytime and nighttime vision.

 

Mission

To inspire, entertain, and open minds by creating transformative theatre experiences for all.
 

Vision

KCRep will be a catalyst for a culturally vibrant, equitable, and thriving Kansas City by connecting artists and audiences in a welcoming environment that fosters wonder, curiosity, and understanding.

 

Anti-Racism Statement

Since mid-2020, KCRep has engaged in a deliberate, strategic and heart-expanding process of educating and involving our board and staff in the important work of Inclusion, Diversity, Equity and Anti-Racism (IDEA). This work has had a profound impact on us personally and on our organization and we are excited to engage our broader community. There is significant work to be done as we make changes now and build a long-term culture of belonging and anti-racism for us at Kansas City Repertory Theatre. We are committed to being part of the solution that advances equity and creates a more inclusive KCRep and American Theatre, and we invite you all to join us in this on-going evolution. Please check out more on our website at kcrep.org/inclusion.

 

Current actions being implemented as responses to the We See You White American Theatre document:

Cultural Competency 

1.     We are committed to and engaged in ongoing mandatory EDI and Anti-Racism Training for executive leadership, board and staff. And committed to a dedicated budget line item for consistent EDI work throughout our organization.

2.     We are committed to quarterly anti-racism trainings and learnings with a priority on bystander intervention, de-escalation and conflict resolution training. These commitments are also represented in our budget.

3.     We are committed to expanding meaningful, long-term relationships with BIPOC artists nationally and with a priority on the Kansas City region.

4.     We will continue to share our Land Acknowledgment at first rehearsals as we have the past three years and will now share our Land Acknowledgement at all board meetings, outward facing events, and gatherings of more than ten staff members.

Working Conditions and Hiring Practices

1.     We will continue to eliminate 10 out of 12s and this season begin 5 day rehearsal weeks.

2.     We commit to transparency as we build a cast and creative team so that BIPOC artists know who they are collaborating with.

3.     We have evaluated and revised our production job descriptions so that they are free of unconscious bias, including language such as “year of experience” requirements.

4.     We commit to casting processes that reflect the cultural specificity of the shows being cast.

Artistic and Curatorial Practices 

1.     We are committed to centering BIPOC artists in telling their own stories.

2.     We will continue and expand the hiring of BIPOC artists on period/canonical texts. This was a priority established for the new artistic team in 2019 and will continue to be a priority.

3.     We are committed to at minimum 50% BIPOC designers in the 2021-23 seasons overall and by the 2023-24 season at minimum 50% BIPOC design teams for every production.

4.     We commit to hiring therapists or counselors for stories that deal with racialized trauma.

Transparency, Compensation, Accountability and Boards

1.     We have created an executive board level Inclusion, Diversity, Equity and Anti-Racism (IDEA) committee and established the expectation that all board members will be engaged in our anti-racism learning and work.

2.     We certify our highest paid executives are compensated less than 10X that of our lowest paid full-time associate.

3.     Our financial results are subjected to an annual audit and the audit is included on our website.

4.     In response to a review of the makeup of our board of directors, we have instituted two alliance committees, one comprised and led by our board and one created to guide the work to be done by staff. The IDEA committees are led by directors and staff and collaborate with the theatre’s leadership team, board, and our EDI consultants Together we are developing a strategic plan designed to move the theatre toward anti-racist practices. The board members are and will be voting board members.

Marketing and Audience Experience

1.     We are committed to investing in training for our box office, front of house staff and volunteers that will include the development of intervention and disruption protocols for harmful moments.

2.     We commit to abolish the policing practices of audience response and promote statements of inclusion for BIPOC audience cultural practices.

3.     We commit to invest in and foster reciprocal relationships in BIPOC communities with a concentrated focus and investment in long-term BIPOC audience development.

4.     We acknowledge that the practice of maintaining donors, subscribers, and board members should also be applied to creating relationships with BIPOC audiences, and not exclusively for BIPOC shows.

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Fun Home Lauren Braton as Alison Jonathan Raviv as Bruce Bechdel (photo by Brian Paulette
Fun Home Lauren Braton as Alison Jonathan Raviv as Bruce Bechdel (photo by Brian Paulette

Vanessa Severo and Nathan Darrow as Maggie and Brick in CAT ON A HOT TIN ROOF (Photos by D
Vanessa Severo and Nathan Darrow as Maggie and Brick in CAT ON A HOT TIN ROOF (Photos by D

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KC_Rep_Logo_RGB

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