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Stage Managers Do Make Coffee A Handbook for Stage Managers by Carissa Dollar February 7, 2000 Index: Job Description / Introduction / 10 Golden Rules / Meeting the Director / Preproduction / Auditions / The Production Book / The Comfort Zone / The Rehearsal Period / Taping Out the Set / Taking Blocking Notation / Prompting & Line Notes / Handling Artistic Temperaments / Preparing for Tech Week / Running Technical Rehearsals / Calling the Show / Opening Night & Performances / Maintaining the Show / Job Description There is no single definition or job description for the tasks performed by the person who accepts the title of Stage Manager for any theatrical production. Every theatre or production company has different ideas and expectations regarding the Stage Manager's role in the production process. Each Producer or Director may ask different things of the Stage Manager for each individual production. Therefore, the individual who accepts this position must be as flexible as the job description itself. According to Actor's Equity Association (AEA), the union of both professional Actors and Stage Managers, the Stage Manager performs at least the following duties: • Calls all rehearsals, before or after opening. • Assembles and maintains the Prompt Book. • Works with the Director and the Department Heads to schedule rehearsal and outside calls. • Assumes active responsibility for the form and discipline of rehearsal and performance, and is the executive instrument in the technical running of each performance. • Maintains the artistic intentions of the Director and Producer after opening. • Keeps any records necessary to inform the Producer of attendance, time, welfare benefits, etc. • Maintains discipline. A Stage Manager's success generally can't be measured in quantitative terms. There are, however, some basic qualities and character traits of good Stage Managers which remain constant. • A Stage Manager is someone who desires and accepts responsibility. • A Stage Manager is a tactful communicator with a sense of humor. • A Stage Manager is organized, adaptable, and thinks quickly on her feet while keeping the goals and priorities of the artistic staff in mind. • A Stage Manager is often privy to confidential information such as salaries, disciplinary action or health problems. As a condition of this knowledge, a Stage Manager knows when to keep her mouth shut and her eyes and ears open. • A Stage Manager creates positive energy and inspires those around her to give 110% to the task at hand. • A Stage Manager has at least some basic knowledge of each aspect of a theatrical production. • A Stage Manager should be familiar with the requirements of the many unions for Stagehands, Actors and Musicians. In short, a Stage Manager is an artist, parent, friend, confidant, nurse, drill sargent and cheerleader. Anyone who does not have the potential to possess all of these character traits and is not comfortable with juggling all of these responsibilities and roles at once should think twice before accepting a stage management position.

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A lovely, short document discussing some of the weird and wonderful things Stage Managers may deal with to help their productions run smoothly

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  • StageManagersDoMakeCoffeeAHandbookforStageManagers

    byCarissaDollarFebruary7,2000

    Index:JobDescription/Introduction/10GoldenRules/MeetingtheDirector/Preproduction/Auditions/TheProductionBook/TheComfortZone/TheRehearsalPeriod/TapingOuttheSet/TakingBlockingNotation/Prompting&LineNotes/HandlingArtisticTemperaments/PreparingforTechWeek/RunningTechnicalRehearsals/CallingtheShow/OpeningNight&Performances/MaintainingtheShow/

    JobDescription

    ThereisnosingledefinitionorjobdescriptionforthetasksperformedbythepersonwhoacceptsthetitleofStageManagerforanytheatricalproduction.EverytheatreorproductioncompanyhasdifferentideasandexpectationsregardingtheStageManager'sroleintheproductionprocess.EachProducerorDirectormayaskdifferentthingsoftheStageManagerforeachindividualproduction.Therefore,theindividualwhoacceptsthispositionmustbeasflexibleasthejobdescriptionitself.

    AccordingtoActor'sEquityAssociation(AEA),theunionofbothprofessionalActorsandStageManagers,theStageManagerperformsatleastthefollowingduties:

    Callsallrehearsals,beforeorafteropening. AssemblesandmaintainsthePromptBook. WorkswiththeDirectorandtheDepartmentHeadstoschedulerehearsalandoutsidecalls. Assumesactiveresponsibilityfortheformanddisciplineofrehearsalandperformance,andisthe

    executiveinstrumentinthetechnicalrunningofeachperformance. MaintainstheartisticintentionsoftheDirectorandProducerafteropening. KeepsanyrecordsnecessarytoinformtheProducerofattendance,time,welfarebenefits,etc. Maintainsdiscipline.

    AStageManager'ssuccessgenerallycan'tbemeasuredinquantitativeterms.Thereare,however,somebasicqualitiesandcharactertraitsofgoodStageManagerswhichremainconstant.

    AStageManagerissomeonewhodesiresandacceptsresponsibility. AStageManagerisatactfulcommunicatorwithasenseofhumor. AStageManagerisorganized,adaptable,andthinksquicklyonherfeetwhilekeepingthegoalsand

    prioritiesoftheartisticstaffinmind. AStageManagerisoftenprivytoconfidentialinformationsuchassalaries,disciplinaryactionorhealth

    problems.Asaconditionofthisknowledge,aStageManagerknowswhentokeephermouthshutandhereyesandearsopen.

    AStageManagercreatespositiveenergyandinspiresthosearoundhertogive110%tothetaskathand. AStageManagerhasatleastsomebasicknowledgeofeachaspectofatheatricalproduction. AStageManagershouldbefamiliarwiththerequirementsofthemanyunionsforStagehands,Actors

    andMusicians.

    Inshort,aStageManagerisanartist,parent,friend,confidant,nurse,drillsargentandcheerleader.Anyonewhodoesnothavethepotentialtopossessallofthesecharactertraitsandisnotcomfortablewithjugglingalloftheseresponsibilitiesandrolesatonceshouldthinktwicebeforeacceptingastagemanagementposition.

  • Introduction

    Toomanypeoplearepushedintostagemanagementwithoutthetrainingorexperienceneededtofulfillalloftheresponsibilitesofthisimportantposition.Myownfirstexperiencecouldbecomparedtobeingthrownintoapoolinordertolearntoswim.

    MyfreshmanyearofcollegeIhadexpressedaninterestinstagemanagement.ThenextfallIwaschosentostagemanagethefirstshowoftheseason.Iwasbothexcitedandalittleoverwhelmed.Iknewthebasicjobdescription,butIhadneverevenservedasanassistant.

    Iwasgivenaphotocopyofthescript,a3-ringbinderandsomeformsonacomputerdisk.IwasthenrushedthroughacrashcourseingettingashowupasIstumbledmywaythroughrehearsals.

    Iwastreadingwaterverywelluntiltechweek.Unfortunatelyforeveryoneinvolved,Iwastotallyunpreparedforcuetocue.NoonehadsuggestedthatIsitdownwiththedesignerstotalkthroughtheshowandplacecuesandtheideahadn'toccuredtome.Wejustslowlyblunderedourwaythroughtherehearsal.Everyfewminuteswewouldhavetostoptodiscussthefunctionandplacementofcues.AgreatdealthatwasaccomplishedinthatrehearsalInowknowshouldhavebeendiscussedbeforehand.Thelackoforganizationandpreparationwasmyfaultandwastedalotofman-hours.

    OnopeningnightIwassonervousandunsureofmyselfthatafterIopenedthehouseIwentstraighttothedressingroomandthrewup.EachtimeIcalledastandbyIwouldfeelasthoughIcouldn'tbreatheuntilthesequenceofcueswascomplete.ThatwasthenightIlearnedthatstagefrightdoesn'tjusthappentoperformers.

    Aftertheclosingperformance,Imadetwopromisestomyself.Iwasgoingtotrystagemanagementagainandusemypastmistakesasbuildingblockstoabetterendproduct.IalsoknewthatIwasnottheonlyonewhocouldlearnfrommymistakes.IwantedtomakeitapersonalmissiontodoeverythingIcouldtohelplessexperiencedStageManagerslearnthecraftandavoidsomeofthepitfallsthatbefellme.

    IreadeverybookonstagemanagementthatIcouldfind,startingwithLawrenceSternandmovingontoThomasKellyafewyearslater.Ifoundstructure,guidance,inspirationandmotivationintheirtexts.IservedasanAssistantStageManagerontwoshowsbeforeIstagemanagedmyownshowagain.IwasmuchbetterpreparedforthechallengesaStageManagerfacesandwasabletosucceedintrainingsomeexcellentassistants.

    SincethenIhaveservedonthestagemanagementteamofmorethanthreedozenproductionsforseveraldifferentproductioncompanies.Ihavealsocrewednumerousshowslearninghowdifferentdepartmentsworkandhowvariouspiecesofequipmentfunction.IhavelearnedalotinthesepastfewyearsandcontinuetotrytosharemyexperienceswithlessexperiencedStageManagersinhopesofbeingamentor,friendandgeneralsoundingboard.

    Mygoalinwritingthishandbookistoaddresseachstageoftheprocessofputtingashowupandsuggestsomestepsthatcanbetakentoforseeandavoidpotentialproblems.IwanttosharenotonlywhatIhavelearned,buthowIlearned.Ihopethateveryonewhoreadsthesepagestakesawayjustonephrasethathasvaluetothemandlendsintegritytotheirwork.

    IhaveputmanyhoursintothisprojectwiththehopethatbeginningStageManagerswillfindguidanceandmotivationinmyownprocess.IhopetoprovidenewideasandanaffirmationoftheimportanceoftheStageManager'sroleineveryproductiontothoseofyouwithmoreexperience.

  • IalsohopetoinstillanewrespectandunderstandinginthoseofyouwhoworkwithStageManagers.Unfortunately,noteveryoneinthetheatricalcommunityunderstandsthefullscopeoftheStageManager'sroleinaaproduction.AnactorfriendofminewasonceshockedwhenhediscoveredhowearlyIarrivedtopreparethespaceforarehearsal.HislastSMhadalwaysarrivedjustintimetostartrehearsal."IthoughStageManagersjustsatoutinthehouseandatecandy,"helaughed,basedonthepreviousexperience.Hewasquitesurprisedtodiscoverhowmuchresponsibilityforthesuccessoftheproductionactuallyfellonmyshoulders.

    ItseemsthebestplacetostartourexaminationoftheStageManager'sroleintheproductionprocessisthepersonalcodewhichhelpsmetomakeeverydecisionaboutaproduction.Ihave10GoldenRulesthatIlivebyasaStageManager.Ibelievethattheseguidelinesarewhatgivesmeintegrityandpushmetoexcelatmyjob.

    My10GoldenRulesofStageManagement

    1.LearnFromMistakes.Nooneisperfect.Weallmakemistakesaswepracticeourcrafts.Thebestthinganyonecandoistoanalyzethesesituationsandlearnhowtoavoidmakingthesamemistakeagain.

    2.Don'tPanic!Alwaysremaincalm,coolandcollected.Never,Neveryell.AllStageManagersshouldknowthedifferencebetweenraisingtheirvoicestobeheardandyelling.IftheStageManagerlosesit,everyonewillpanic.

    3.SafetyFirst!Thecastshouldn'tsetfootonthestageunlessyouwouldwalkonitbarefoot.Inspectthesetdailyforpotentialproblems.Areallstairsandplatformssecure?Areallescapesadequatelylitandglowtaped?Doyouknowwherethefirstaidkitsandfireextenguishersarelocated?WhoiscertifiedinCPRandFirstAid?TheSMshouldbe!

    4.Plan&ThinkAhead.Whatcanbedonetoavoidproblems?HowcantheStageManagersmakelifeeasierforeveryone?

    5.ThereAreNoDumbQuestions.Itisbettertoaskandfellsillyforafewsecondsthantocauseadisasterlater.

    6.PrioritizeTasks&DelegateAuthority.Onepersoncan'tdoeverything.Whydowehaveassistantsifwedon'tusethem?!

    7.EarlyIsOnTime.TheSMshouldalwaysbethefirstpersoninandthelastpersonoutofthetheatreforameetingorrehearsal.Ialwaystrytoshowupabout15minutesbeforeIreallythinkIneedtobethere,justincasetrafficisbadoranyproblemsordelaysoccur.

    8.PutEverythingInWriting.Inotherwords,beacommunicator!Dateddailyrehearsalnotesaidincommunicationandhelptoavoidconflictsoverwhenrequestsorchangesweremade.(Voicemailandemailarealsogreatformsofcommunication!Getapagerorcelphonesoyouareeasytoreachatalltimes!)

    9.Please&ThankYou.Usethesewordeveryday,especiallywhenyouareworkingwithvolunteers.

    10.StageManagersDOMakeCoffee.Theyalsodoamillionothermenialtasksthataremeanttomakepeoplehappyandboostmorale.Buydonuts,bakebrownies,makesurebirthdaysarerecognized,andhole-punchallpaperwork.Theselittlethingsarereallyappreciatedbyeveryone.

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  • MeetingtheDirector

    IftheStageManagerandDirectorofaproductionhaveneverworkedtogether,itisadvisabletohaveapreliminarymeetingtodiscusswhatisexpectedoftheStageManagerduringtherehearsalprocessandhowtheStageManagerpreferstoruntechnicalrehearsals.ThegoalofthismeetingshouldbefortheSMandDirectortogettoknowoneanotherandgetafeelforhowtheotherpersonlikestowork.SomeofthequestionstheStageManagermightconsideraskingare:

    DoestheDirectorallowguestsintherehearsalarea?ForDressRehearsals? Atthefirstreadthrough,wouldtheDirectorlikeyoutoreadthestagedirections? Howlongwillthecompanybesittingatatableworkingwiththetextonly?Whentheyfirstgetontheir

    feet,howmuchrehearsalfurniturewillbenecessary?WhenwouldtheDirectorliketointroducerehearsalpropstothecompany?

    Howheavy-handedshouldyoubewithtardyorabsentcastmembers?DoestheDirectorliketohaveastrickstarttimeevenifsomeperformersarenotpresentyet?

    Inanon-unionproduction,doestheDirectorliketohaveformalbreakscalledorshouldbreaksjusthappen?Ifyouwillbecallingthebreaks,wouldtheDirectorliketobewarnedafewminutesaheadoftime?

    ForanEquityproduction,whatbreakscheduledoestheDirectorprefertofollow?EquityActorsandStageManagersshouldreceiveeitherafivemiutebreakafterevery55minutesofworkoratenminutebreakafterevery80minutesofwork.Dinnerbreaksmustbe90minutesunlesstheEquitymemberselecttotakeashorterbreak.

    Shouldyougiveblockingnotesandcalloutpropsthattheactorshaveforgottentocarryon? Oncethecastisontheirfeetrehearsing,shouldyoucalloutanytechnicalcuesthateffecttheactionon-

    stage?(Soundeffects,blackouts,etc.) WouldtheDirectorlikeforyoutotakelinenotesorsimplyprompt? ShouldyoupromptonlyifLineiscalledoranytimethereisabreakintherhythmofthescene?

    Shouldtheactorsbeallowedtoparaphraseorshouldtheybemadetostickwordforwordtothetext? WhenisagoodtimeforyoutotalkprivatelywiththeDirectoreachday?Itsagoodideaforthetwoof

    youtobeabletotouchbasewithoutanyinterruptions.

    DiscussingthesetopicswiththeDirectorwillallowyoutounderstandeachothersexpectationsandgetofftoasmoothstartasateam.YouwillhaveafeelfortheatmospheretheDirectorwouldlikeyoutohelpcreateintherehearsalspace.TheactorsarealsoverylikelytoasktheStageManagementTeammanyofthesesamequestionsduringthefirstweekofrehearsal,sobeprepared!

    Preproduction

    Agreatdealoftheworkwhichdeterminesthesuccessorfailureofaproductionisdoneinthephaseknownaspreproduction.Theproductionprocessbeginswiththeselectionoftheproductionanddesignteamsandincludestheanalysisofthescript,productionmeetingsandauditions.

    InmanysituationstheSMisntbroughtonboarduntilrehearsalsbegin.Ifyouhavetheluxuryofapreproductionweek(oneweekisrequiredonanEquitycontract)therearemanytasksyoushouldaccomplishthatwillmakeyourjobeasieroncerehearsalsstart.

    Afterbeingselectedasamemberoftheproductionstaff,theStageManagersfirststepshouldbetorequestacopyofthescript.Ifitisatallpossible,readittwicebeforethefirstproductionmeeting.

  • First,youshouldreadtheplayforpureenjoyment.Becomefamiliarwiththestoryandthecharacters.Trytovisualizetheplayinyourheadasyouread.Nowwalkawayfromthescriptforalittlewhileandletthingssinkin.

    Gobackforyoursecondreadingpreparedtoplaydetective.Youwillneedablankpadofpaper,arulerandapencil.Beginyouranalysisofthescriptbydividingthepaperintocolumnsreading,fromlefttoright:

    Act/Scene/Page Set Lighting Costumes/Makeup Props Sound SpecialEffects.

    Slowlyandmeticulouslygothroughthescriptmakingnotesofeachcluethatyoufindwhichrelatestoanytechnicalaspectoftheproduction.Besuretoreadboththedialogueandthestagedirectionsascluescouldbehiddenanywhere.

    IncludetheAct/Scene/Pagecolumnsothatyoucanquicklylocatethingsinthescript.Thesenoteswillbehelpfulinplanningforrehearsalsandcanalsobeinvaluableinproductionmeetings.Youmightevenwanttomakecopiestosharewiththedirectoranddesignteams.Youranalysiswillprobablylooksomethinglikethis:

    DreamgirlsProductionTechnicalRequirements

    Act/Scene/Page Set Lighting Costumes/Makeup Props Sound SpecialEffects

    I.1.1 ApolloTheatre Concert - - LivePeriodMicforMC -

    I.1.5 - - Dreams&SteppSistershavesamewigs - - -

    I.2.20 OntheRoad - - PayPhone - -

    I.3.21 RecordingStudio - - -LiveHangingMicsforstudio

    -

    I.5.28HotelBanquetRoom(b-dayparty)

    - - Phone - -

  • Nowyouarepreparedtoconductyourfirstproductionmeeting.TheStageManagershouldmakesurethateveryonegetsachancetodiscusshisorherideasandproblemsineachproductionmeeting.Thefirstproductionmeeting,however,traditionallyrevolvesaroundthedirectorsideasabouttheplayandisoftencalledtheconceptmeeting.TheStageManagermaynotbeinvolvedinthisinitialmeetingbecauseitoftentakesplacebeforetheSM'scontractbegins.

    Thedirectorwillusuallypresenthisorherresearchandthoughtsabouttheplayattheconceptmeeting.Afterwards,thedesignersanddirectorswillbrainstormabouthowtheycanbestbringthedirectorsvisiontolifeonstage.Thisdiscussionwilloftenstartoutveryabstractandmoveintomoreconcretedecisions.Questionsandproblemsaddressedinproductionmeetingswillbecomemorespecificastheproductionprocesscontinues.

    AllofthesediscussionsareveryimportanttotheStageManagersunderstandingoftheplay.Takeveryspecificnotesabouteverythingthatisdiscussedineachproductionmeeting,typeanddistributethemtoeveryonewhoattendedthemeetingandanyoneelseaffectedbythenotes.Yourdetailednotesinsurethatnooneforgetswhichdecisionsweremadeandwhatdeadlineswereagreedupon.

    Auditions

    Ifyouaredoingpreproductionworkonashow,youmaybeaskedtorunauditions.Ifthisisthecase,youshouldberesponsibleforkeepingtheauditionsorganizedandrunningonschedule.Runningauditionsgivesyouanadvancelookattheenvironmentyouwillbeworkingin.YouwillgettoseetheDirectoratworkandmeettheactorswhomaybejoiningthecast.

    Auditionsgivetheperformerstheirfirstimpressionoftheproductionandofthestagemanagementteam.Organizationandcompassionareveryimportantatthistimeintheproductionprocess.

    Agreatfirststepinpreparingforauditionsistofindoutifthedirectorwillwantheadshotstakenoriftheauditionswillbevideotaped.Ifso,willthedirectorneedyouoranASMtorunavideocameraortakePolaroid's?Youmightneedtolayaspikemarkfortheauditionerstostandonwhiletheyread.Thiswillhelpthemtofindthebestlightandensurethattheyareintheproperareaforthevideocameraoperatortofilmthem.

    Youwillneedtopreparetablesandchairsfortheartisticstaffintheauditionroom.Youshouldalsomakesurethatthelightingisadequate.Isthetemperatureoftheroomcomfortable?Shouldyouprovidecoffeeorapitcherofwaterandsomecupsforthestaff?

    Preparetheareawheretheauditionerswillbeaskedtowait.Keepinmindthattheauditionswillbethefirstimpressionyouandtheproductioncompanywillmakeonmanyoftheperformers.Createawarm,friendlyenvironmentforeveryoneinvolved.

    Makesurethereareplentyofseats.Haveseveralcopiesofthescriptavailableforperusal.Copylotsofauditionformsandhavepencilsandpaperclipsonhand.Doyouneedtoprovidenametags?Wherearetheclosestrestroomsandwaterfountain?Isthereamirroravailableforlastminutetouchups?Isthereapublicphonenearby?

    Postalistofallthecharactersandashortdescriptionofeachone.Posttherehearsalscheduleoratleastthedateofthefirstrehearsalifacompletescheduleisnotavailable.Besuretoincludetherundatesoftheproductionasapartoftheschedule.Rule44oftheagreementbetweenAEAandLORT(LeagueofResidentTheatres)requiresthattherundatesoftheproductionbepostedatallauditions.

  • ManytimestheStageManagerwillbeaskedtohelpcalltheyesandnopilesforCallbacksorafterthecastingdecisionshavebeenmade.Donotgiveoutanyinformationabouttheotherauditioners.Besuretothankthenosforauditioning.

    Theshowisnowcastandthetechnicaldepartmentsarehardatworkonbuildingandbuyingscenery,propsandcostumes.Thefoundationoftheproductionisinplace.TheStageManagermustnowbeginfinalpreparationsfortherehearsalperiod.

  • TheProductionBook

    Nowthattheproductionprocessisinfullswingyourpileofpaperworkshouldbegrowing.AtthispointtheStageManagerwillbegintoassembletheProductionBook,alsoknownasthePromptBookorProductionBible.

    Buyalarge3-ringbinderandseveralinsertableindextabs.Includeyourcopyofthescript,allproductionmeetingnotesandanyofthechartsorscriptanalysisthatyouhaveproducedinthisbinder.Acopyofeverypieceofpaperworkregardingthetechnicalandartisticoperationoftheproductionshouldbekeptinthisbook.

    ThesectionswhichIdecidetocreateinmyproductionbookdependonthecomplexityoftheproduction.ThefollowinglistillustrateshowIwouldnormallyorganizeaproductionbookforatwoactmusical.

    ToDo CastList ContactSheet RehearsalSchedule AttendanceSheet ConflictCalendar EmergencyInformation BlockingKey Preshow ActI Intermission ActII PostShow CueSheets RehearsalReports PerformanceLog PerformanceReports Publicity ProgramInformation Scenery Lighting Costumes,Makeup&Hair Properties Sound

    MymethodofassemblingaProductionBookchangedalotwhenIstagemanagedIntotheWoodsatIndianapolisCivicTheatre.Inthepast,Ihadalwayscalledallmyshowsfromthetext.TowardsthebeginningoftherehearsalprocessforIntotheWoods,Idecidedthatthistimeitwouldbenecessarytocombinethescriptandscoreduetothecomplexityofboththemusicandthetechnicaleffectsforthisproduction.

    BecauseIhadnevercalledacompleteshowfromthescorebefore,Iwasconcernedatfirstaboutbeingabletoreadmypencilnotationsiftheywerewrittenonthescorepages.Itseemedtomethatmynotationwouldbelostinthemusic.Mynormalmethodsofputtingtogetheracueingscriptjustdidntseemtoworkwellwithascore.

    EveryStageManagerknowsthatthedirectoranddesignerswillwanttochangecuesallthewayuptoopeningnight,soallcueingtextsmustbeassembledinamannerwhichwillallowtheSMtoquicklyandeasilymakechanges.IthoughtthattheStagecraftMailingListcouldbeagoodresourcetoobtainsomeadvicefromSMs

  • whohadcalledshowsfromascorebefore,soIpostedaquery.InjustthreedaysIreceivedmorethan25responsesfromallovertheUSandCanada.

    Oneofthefirstthingsthatyoushouldconsiderdoingbeforeyouspendtoomuchtimeonpreparingwhatwillbecomeyourcueingtextistalktothedirectorandyourdesigners.Willthedirectorusemeasurenumberstocommunicateblockingnotes?Thisproductionwasmyfirstexperiencewithadirectorwhogavenotationinthismanner.Itworksgreatandissomucheasiertotakenotation!

    Anotherimportantquestionyoushouldaskishowtheshowwillbecued.Dothedesignersexpecttosetmostoftheircuesoffofthewords,musicoraction?Askingthesequestionswillhelpyoudecideifyoushouldusethescript,scoreorboth.Yourdecisionalsodependsagreatdealonwhichmethodyouarecomfortableusing.Afterall,youarethepersonwhomustultimatelybeabletouseandunderstandtheproductionbook.

    InmyeffortstocombinethescriptandscoreforIntotheWoods,Icameupwithafewnewtricksthatworkedverywellforme.IalsolearnedagreatdealthroughtheresponsesIreceivedoverthemailinglistregardingassemblingacallingtext.

    Forthelongesttime,Ihavepreferredtothree-hole-punchmyscriptandscoreontheright-handsidesothatthepageslaytotheleftinmyproductionbook.ThismakestheblankpageoppositeeasiertowriteonasIamright-handed.Beforerehearsalsevenstart,IwillhaveanalyzedthescriptandputlightpencilmarksinthemarginswhereIanticipatecues.Astheshowisblocked,theDirectorwilloftenmentionpotentialscenicandlightingcues.Iwillputlightpencilmarksandnoteswherethesecuesmayoccuraswell.Sometimes,insteadofpencilmarks,IwillusePost-itsorPost-ittapeuntilIamsureoftheplacementorfunctionsofthecues.Inthepast,thefinalcueshavealwaysbeenpencileddirectlyintomyscriptusingasidewaysLtoindicatetheplacement.Onthefacingpage,Iusuallypenciledinspecificnotesdetailingthefunctionofeachcue.

    Whentakingnotes,Iwilldividetheblankpagesintothreesections.Thetopofthepageisasketchorreducedblueprintofthefloorplan.Theleft-handcolumnwillbeusedfordetailedtechnicalnotesasitisclosesttothescript/scorepages.Theright-handcolumnisusedforblockingnotation.

    Inthetechnicalcolumn,Iwantmynotestobeeasytomoveorchangeastheartisticstaffmakeschangesonme.Becauseofthis,Isometimesusemycomputertoprintoutmyspecificnotesregardingeachcueonplainpaper.IcanthencutthenotesapartanduseaPost-itgluesticktoattachthemtotheblankpageoppositethetext.ThePost-itgluesticksturnregularpaperintohomemadePost-itnotes!ItworksgreatandIcanmovethemaroundeasily.Beforewebegintechweek,Iwilleditthesesamenotesdowntoserveasmydeckandrail/flycuesheets.

    ForIntotheWoods,Iendedupcombiningthescorewithseveralscriptpagessincealotofthedialogueisnotincludedinthescore.Ialsopastedinsomeofthelinesbeforethesongsatthetopofthesheetmusic.OnthescriptpagesInumbertheblockingmovesas1,2,3,etc.Iusethemeasurenumberstoindicatetheorderofmovesofthepagesoppositethescore.Ihighlyrecommendusingthemeasurenumbersinyourblockingnotationwhenworkingonamusical.Itmakeseverythingsomuchmorespecificandlooksalotlessclutteredonthepage.

    AlongtherighthandedgeoftheblankpageIwillstickbluePost-itTapeFlagsthatindicatewhereafastcostumechangetakesplace,thecharacter(s)involvedandwhichcostumetheywillbechanginginto.Forexample,inIntotheWoods,theNarratorandMysteriousManwereplayedbythesameactorsohehadseveralfastchanges.AshorthandnoteforoneofhischangesmightreadNAtoMMDR.Whenthecostumecrewarrives,Imightaddanoteregardingwhoisassignedtoassisttheactorwiththechange,suchasw/Judy.

    Asforcueing,IamnowwritingthecuenumbersonPost-itTapeFlagsandAveryColorCodingLabels(IcallthemGarageSaleDots)withtheword,phraseornoteIshouldcallonindicated.SinceIcolorcodethedifferent

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  • departments,itisnotalwaysnecessaryformetoindicatethetypeofcuebeforethenumberonthescriptpages.Whenenteringthedetailednotesonthefacingpages,however,Iuseashorthandsystemtoindicatethedepartments.(LQ20standsforLightCuetwenty,Spot1meansSpotlightCueone,SQFindicatesSoundCueF,etc.)

    ForIntotheWoods,IusedyellowflagsforallStandbysandbrightpinkflagsfordeck/rail/revolveGos.Iassignedneongreendotstosoundcues,neonorangetolightcuesandneonredtospotcues.Thissystemworksprettywellbecausethecuesreallystandoutonthepage.Iwasalsoabletoquicklymovethecuesaroundduringtechwithouterasing.AnyonewhohasworkedasaStageManagerknowswhatawonderfulfeelingthatwas!Nomoreerasingholesinmyscript!AnotherwonderfulbonusofthissystemisthatIcanreadthescriptthroughtheTapeFlags.

    Mostimportantly,rememberthatwhateveryoufeeliseasiesttounderstandisthebestmethodforyou.RememberthatiftheSMgetshitbyabusonthewaytothetheatre,someoneelsemustbeabletopickupthecallingtextandunderstandhowitisorganized.

    Iknowthismayseemabitoverboardtosomepeople,butitreallydoesproduceacleanandeasytoreadcueingtext.IwasextremelyconfidentthatanySMwouldhavebeenabletowalkintotheboothandunderstandhowtocalltheshowfromthisbook.ProbablymoreconfidentthanIhadeverbeenwithanyotherproductionbookIhadassembledatthatpoint.

    SomeofthemanyofficesuppliesIhavefoundreallyusefultohaveonhandwhenpreparingaproductionbookarePost-itTapeFlags,neongaragesaledots,Post-ItCorrectionandCover-upTape,pageprotectors,dryerasepens,greasepencilsorpermanentmarkersandthesmallestsizePost-itnotesthatyoucanfind.IalsoalwayskeepabigcubeofPost-itsatmystationtomakenotesaboutanyerrorsmadeintherunningoftheshow.Islapthemintothescriptasareminderforthenextrehearsalorperformance.Theycatchmyattentionquitewell.

    Ireceivedseveralotherreallygoodsuggestionsoverthemailinglist.SomeSMsputtheirscript/scorepagesintopageprotectorsandthenwriteonthemwithoverheadprojectorpens.OtherswarnedthattheVis--Vistypemarkerssmeartooeasilyandsuggestedusingpermanentmarkerswhichcanberemovedwithrubbingalcohol.(Iagreewiththepersonwhosaiditwouldbetootemptingtouseabottleofvodkainstead!)Ithinkthebestsuggestionalongthislinewastousegreasepencils.Theyarehardertosmudgebutnottoohardtocleanoff.Ithoughtthiswasareallygoodidea,butitalsosoundedprettyexpensive.Ipersonallydidntwanttoinvestthatmuchmoneyinassemblingmybookforashowthatonlyrunsforthreeweeks.Idodefinitelyseetheadvantagesofthismethodforalongrunningproduction,though.

    ManySMsswearbythelittleneongaragesaledotsthatInowusetomarklightandsoundcues.SomeSMsprefertoplacethedotsdirectlyonthepagetoindicateacue,whileothersusepageprotectorswiththemsothattheyareeveneasiertomovearound.Onewordofcaution,ifyouusethemdirectlyonthescriptpagetheyreallyshouldbede-stickifiedfirstbypressingthemonyourjeans!Otherwisetheycantearupthescriptpagesifyoutrytomovethemaround.Again,personalpreferencedictateswhetheryouwillwanttousedifferentcolorsforyourwarnings,standbysandgosorcolorcodebydepartment.

    NowthatIhavecalledafewshowsusingthismethod,IcanseewhysomanySMswereravingaboutthebenefitsofneondots!Ifoundthatitmadeitmuch,mucheasierformetokeepmyheadoutofmybookandmyeyesonthestageatalltimes.Insteadofactuallyfollowingthebook,thecuescanbereadataperipheralglance.Irecommendpickingabluegelforyourrunlight.Bluegelscausetheneondotstoreallyglow.Oneotherwordofcaution,though.Theyellowandgreengaragesaledotslookthesamecolorunderbluerunninglights.

    Ireallydorecommendthatanyonewhohasntcalledashowfromascriptassembledwithneondotsconsidertryingthismethod.Especiallyifyouoftengetnotesfromyourdesignerstokeepyourheadoutofyourbook.Itcertainlybrokemybadhabit.

    Amber Molloy

    Amber Molloy

    Amber Molloy

  • ThePost-itCorrection&Cover-upTapeisalsoveryuseful.ItlookslikearolloftapebutisreallyarollofPost-its.Itcomesinthreedifferentsizes,uptooneinchinwidth.Youcantearoffasmuchoraslittleasyouneed.(Awordofadvice:Ihadahardtimefindingthisproductinmyarea.Youwillmostlikelyhavetobuyitatanofficesupplystore.WhenItriedourlocalofficesupplystoreIstillcouldntfindit.IstoodandstaredatboththetapesectionandthePost-itnotessectionforseveralminutesbeforeIgaveupandaskedanemployee.Hedidntknowwhatitwas,butIeventuallyfounditwiththetypewritercorrectiontape.)

    AnotherreallygoodsuggestionIreceivedwastotypethecuenotesintoawordprocessingprogram,muchlikeIamdoingnow.Afterthecueshavebeenprintedout,havethepagesphotocopiedontoclearacetatewithastickyback.Thenthenotesmaybecutapartandstuckintotheproductionbookattheappropriatepoints.(OK,somymethodwiththePost-itgluesticktakesalittlelonger,butitisalsoalotcheaper!)

    AlwayskeepinmindthatthereareasmanymethodsofassemblingProductionBooksasthereareStageManagers.YourProductionBookwillcontinuetogroweachdayoftherehearsalperiod.Astherehearsalprocessevolves,youwillfindaformatthatmakessenseandworkswellforyou.

    Whicheversystemworksbestforyouistheonethatyoushoulduse.Aslongasyouhavedocumentedeverythingclearlyandincludedkeystoanyshorthandyouuse,anotherStageManagershouldbeabletopickupyourbookandeasilyunderstanditifnecessary.

    TheComfortZone

    OntheStageManagersopeningnight,therearenocostumes,nocuestocallandusuallynoapplause.OpeningnightfortheStageManagerisactuallythefirstdayofrehearsal.Themoodthatissetforthisfirstrehearsalwilldeterminetheproductivity,creativityandgeneralatmosphereofeveryrehearsalwhichfollows.ItisthedutyoftheStageManagertocreateanatmosphereinwhichanythingispossible.IoftenrefertothisatmosphereasTheComfortZone.

    ThetwomostimportantwordsofadviceforaSMabouttobeginrehearsalforanyproductionare,Beprepared.Thebestwaytogainthetrustofanycompanyistobeabletoquicklyandefficientlydealwithanysituationwhicharises.ActorswhotrusttheirSMwillalsolistentotheirSM.

    Manytimes,thequickestwaytobegintoestablishTheComfortZoneistobecomeamagician.AStageManagerwhocanreachintoTheKitandproduceanyitemthatsheisaskedforisalwaysappreciatedbythecompany.Theawe-strucklookonanactorsfacewhenheasksforacoughdropandoneappearsinhishandispriceless.ThefollowinglistisaroughinventoryofathoroughlystockedStageManagersKit:

    Medical:FirstAidbook,allergymedication,burncreme,iodine,latexgloves,Midol,sugarpackets(foradiabeticemergency),Ipecacsyrup(forpoisoning),gauze,clothtape,antiseptictowelettes,ammoniainhalants,isopropylalcohol,hydrogenperoxide,bacitracin,Cortaid,sting-aid,aspirin,NoDoz,medicalscissors,tweezers,cotton,Ibuprofen,childrenspainreliever,Pepto-Bismol,Antacid,Orajel,sinusmedication,Band-Aids,antacid,coughdrops,painreliever,throatspray,Epsomsalts,eyedrops,chemicalicepacks,antihistamine,cottonballsandacebandages.

    Wardrobe:Safetypins,hairbands,bobbypins,scissors,seamripper,shoelaces,runstop,Shoutwipes,thimble,beeswax,needlesandthread.

    Tools:

  • AC-wrenchwithalanyard(leash),aMaglightwithgelsortintedlenses,workgloves,hexkeyset(5/16forRoto-Loks),screwdrivers,fencingpliers,a50tapemeasure,atleastone25tapemeasure,a12tapemeasure,ascaleruler,matteknife,greasepencil,chalk,woodglue,tieline,varioussizesofbatteries(especiallyAAand9V),Scotchtape,glowtape,gaff,electricandspiketape.Ihaverecentlydiscoveredthatagreattooltohaveisasmallphoto-flashwitha"test"button.It'sthemostefficientwaytochargeglowtape!

    OfficeSupplies:3-holepunch,Post-Itnotes(aStageManagersbestfriend),paperclips,pushpins,holereinforcements,largeerasers,highlighters,garagesaledots,Post-ItTapeFlags,Post-ItTape,variouscoloredinkpens,mountingtabs,alargeblackmarker,rubberbands,binderclips,Post-ItGlueSticks,astapler,staples,astapleremover,scissors,pencilgrips,pencilsandapencilsharpener.

    Courtesy&EntertainmentItems:Lighters,matches,nailfiles,nailclippers,Kleenex,breathmints,playingcards,travelsizegames,shavingcream,arazor,atoothbrush,toothpaste,mouthwash,Q-tips,eyeglasscleaner,aeyeglassrepairkit,handcreme,wetnaps,acontactcase,salinesolution,coffeesingles,teabags,candy,clearnailpolish,pantilinersandtampons.

    PuttingtogetheracomprehensiveKitisalongandexpensiveprocess.Mykitstartedoutasapocketinmybackpackincollege.IkeptitfilledwithpencilsanderasersandatravelpackofKleenex.Fromthere,ImoveduptoapencilbagandlaterasmallcratewithafewitemsthatIfeltwereessentialtohaveonhand.ThecontentsofeverykitwillbeasuniqueasthestyleoftheStageManagerwhoassemblesit.

    IknowStageManagerswhohavecarriedaroundshoeboxesorplasticbagswiththesuppliestheyfeltwereimportanttotheircompanymembers.Startwithwhateveryoucanaffordandworktowardsassemblingacomprehensivekit.Mostproductioncompanieswillbehappytoreimburseyouforthemoreexpensiveitemsiftheyareusedupinrehearsal.Sometimes,ifyouprovideacompleteinventoryofyourKitbeforeyoubeginrehearsal,theproducerwillmaintainitforyou.

    Ineverreallyunderstoodthebenefitsofhavingafull-blownStageManagersKituntilIsawoneinuse.WhileworkingastheAssistantLightingDesignerforashowinBranson,Missouri,IencounteredaSMwhohadassembledaverythoroughKit.IwasveryimpressedwithitanddecidedthatassoonasIcouldaffordto,IwouldstartmyownKitanddoawaywiththepencilbagsandhandfullsofsuppliesstuffedintobriefcases,backpacksandpurses.

    ThefirstshowthatIworkedafterassemblingmyKitwasRunForYourWife.IwastheDeckManagerforthisproductionatIndianapolisCivicTheatre.Themaincharacter,John,spendsagreatdealoftheproductionrunningaroundwithabottleofpillsinhispantspocket.TherattlingofthepropwasdrivingtheactorcrazyandheaskedmeifIcouldpleasefindsomecottontostuffinthetopofthebottle.IwenttomyKitandhandedhimtherequestediteminjustafewseconds.Thelookonhisfacewasabsolutelypriceless,especiallysincethisparticularactordoesalotofstagemanaginghimself.Atthatmoment,IknewthatmyKitwasoneofthebestinvestmentsIhadevermade.

    WitheachshowIdo,Ifindnewitemsthatareusefultohaveonhand.TheSMshouldmakesurethattheKitisregularlyinventoriedandrestocked.AlltheworkthatisrequiredtocreateandmaintainaKitiswellworthit.AthoroughlystockedKitisthemostusefultoolaSMcanhave.WhenacompanymemberiscomfortableandconfidentinaskingtheSMforeventhesmallestitem,TheComfortZonehasstartedtoform.

    ThereisoneothervitalnoteIdliketoshareaboutTheComfortZone.Youshouldbewillingtodoanythingtosupportyourcastandcrew.TheStageManagerdoesntblamecrewmembersformistakesmadeinaperformance.Instead,shetakesresponsibilityforallmistakesmadeintherunningofashowbyensuringthattheywillbecorrected.

  • Iknowwhathappenedanditwillbecorrected,isaphraseStageManagersusealotduringtechweek.Alengthyexplanationofwhysomethingwentwrongisntnecessaryunlessthedirector/designer/etc.asksforadetaileddescriptionofwhatcausedtheproblemtooccur.

    Youshouldalsobepreparedtodothingslikeholdaninhalerforawindeddancerwhoisabouttocomeoffstageorsimplybepreparedtohandoffpropsevenifanactorisntinahurry.Ioncespentadaymindingatowelandbucketforanauseousdancerwhowasdeterminedtoperform.Thankgoodnesssheneverneededtouseit,butshefeltalittlebetterjustknowingIwaspreparedtocareforherifshedidgetsick.

    AnothergoodexampleofhowIhelpedtocreateandmaintaintheComfortZonewouldbeasituationthatoccuredduringthePhoenixTheatre'sproductionofCompany.

    Oneofouractorswasepilepticandcametothedirectorandmyselfandtoldushewasonnewmedicationsandwasafraidhemighthaveaseizureduringrehearsalbeforehismedswereregulated.Herequestedthatwehaveadiscussionwiththecastaboutwhatwouldbelikelytohappenifhehadaseizureandhowtoreactifitdidoccur.IremindedhimthatIamcertifiedbytheRedCrossforbothfirstaidandCPR.IassuredhimthatIknewwhattodoandthatwewouldtalkwiththerestofthecompany.Thenextdaywehadashortdiscussionduringrehearsaltofilleveryoneelseinonhowtoreactifhedidhaveaseizure.

    I'mhappytosaythattheactorneverhadaseizureduringtherehearsalprocess.ImadesuretostresstohimhowgladIwasthathehadsharedthisinformationwithus.Itoldhimthatabouttwoandahalfyearspriortothis,whenIwasstagemanagingaproductionofPeterPan,adifferentactorhadn'tinformedanyonethathewasdiabeticandoccasionallyhadseizures.Hehadaseizureduringaperformanceandfellcomingdownasetofescapestairs.Thecrewwasn'tpreparedforthisanddidn'tknowhowtheycouldbesthelphim.Unfortunately,theystucksomethinginhismouthtokeephimfromswallowinghistongue.THISISANOLDWIVE'STALE!ITIFPHYSICALLYIMPOSSIBLETOSWALLOWYOUROWNTONGUE!DONOTDOTHIS!Allyouwillaccomplishiscuttinguptheinsideoftheperson'smouthandpossiblygettingyourselfbit.

    AnotherelementoftheComfortZoneiskeepingtherehearsalspaceaplacethatis"safe"forthecasttoexperimentinastheshowgrowsandevolves.MostprofessionaltheatresIhaveworkedinhaveapolicythatnovisitorswillbeallowedduringrehearsals.It'simportantthattheStageManagerhavetheauthorityandabilitytoupholdsuchpolicies.

    IrecentlyhadanactorinformmethathisThanksgivingguestswouldbestoppingbythetheatreandwouldwatchrehearsalwhilewaitingforhimtobecutfortheevening.Iremindedhimthataccordingthethetheatre'sguidelinesousideguestsarenotpermittedintherehearsalspace.(Theseguidelinesarepassedoutanddiscussedatthefirstrehearsalforallproductions.)Itoldhimtheywouldbewelcometowaitinthelobbyortowalkovertothecoffeeshopthatisaboutablockfromthetheatreuntilrehearsalended.Heessentiallytoldmehethoughtthatitwasastupidpolicy.

    Later,theguestsarrived.Igavetheactoraboutfiveminutestoseeifhewouldexplaintohisgueststhattheywerenotinvitedtostayinthehouse.Hedidnothing.Theotheractorsweremakingeyesatmetogetthesepeopleoutofthetheatre.Inicelyexplainedthesituationtothemandgavethemdirectionstothecoffeeshoparoundthecorner.Theywerequiteamicableandaskedmetolettheactorknowwheretheyhadgone.

    Theactor,however,wasfarfromunderstanding.Ashisguestsleftthebuilding,heannouncedhehadtogotothebathroom.Heleftthestagewithrehearsalstillinprogressandwenttothedressingrooms.Icouldhearnoisesthatsoundedlikehewaseitherhittingsomethingorthrowingstuffbackstage.Afewminuteslaterhecamebackonstage,stillobviouslyupset.Weresumedrehearsalbuthewas"reading"insteadof"acting"fortherestoftheevening.Itwasquiteobvioustoeveryonethathewasupset.Attheendofthenighthemadesuretomentiontomethathe'dbecallingtheProducerabout"hisrules."

  • OfcourseIcalledtheProducerimmediatelymyselfandinformedhimofwhathadtakenplace.(Yourbossshouldalwayshearaboutanysuchincidentsfromyoufirst.YouaretheProducer'seyesandearsintherehearsalspace.)TheProducercompletelybackedmeupandthankedmeforenforcingthetheatre'spolicies.

    Sowhat'sthemoralofthislittlestory?TheSMisn'talwaysgoingtobepopularwitheveryone.Youneedtomakethedecisionthatisbestfortheproductionandifitupsetssomepeople,sobeit.Andifyouknowyouareintheright,don'tletanartistictempertantrumswayyourjudgementcalls.

    Onthelighterside,indulgeceremoniesorsuperstitions,suchasacompanyprayer,circleorwhateverthelocalMacBethritualhappenstobe,evenifyoudontbelieveorparticipate.Thesearealllittlethingsthatmakethecompanyfeeltakencareof.

    TheRehearsalPeriod

    Beforerehearsalsbegin,youwillalsowanttocarveoutyourspaceonthetheatresproductionboard.Thisbulletinboardshouldbeinalocationconvenienttoeveryoneinvolvedwiththeproduction.Everyonewhoentersthebackstageareashouldhavetowalkpastit.Theproductionboardisacentralpointofcommunicationforthecompanyandproductionstaff.Everyoneinvolvedwiththeproductionshouldcheckthisboarddaily.Youwillpostrehearsalschedules,schedulechanges,appointments,publicityandanyotherinformationofimportancetothecompanyonthisboard.

    TheSMshouldbethefirstpersontoarriveforarehearsalormeeting.Rememberthegoldenrule,Earlyisontime.TheSMshouldalwaystrytoarriveatleast15minutesbeforeshethinksshereallyneedstobethere.

    ItistheSMsresponsibilitytoseethattherehearsalspaceispreparedforrehearsalbeforethecastbeginstoarrive.Thismeansthatthedoorsareunlocked,thelightsareallon,thethermostathasbeenadjustedtoacomfortabletemperature,andthestageandpropetiesareset.

    TheSMshouldchecktherehearsalspaceforsafetyaswell.Didthecarpentersleaveanytoolslayingaround?Hasthestagebeenthoroughlyswept?Ifnot,youshouldseethatitisdoneeveryday.ThecompanyshouldneversetfootonthestageunlesstheStageManagerwouldwalkacrossitbarefoot.

    Anypaperworkorscriptrevisionsthatthecastneedsshouldbecopiedandlaidoutinthedesignatedplaceorpostedonthecallboard.TheSMshouldbepreparedtodistributethefollowingmaterialsatthebeginningofthefirstrehearsal:

    CastList&ContactSheet. Rehearsal&PerformanceSchedules. Scripts,Sides&MusicalScores(numbered). EquityPacketforSMandDeputy(forAEAproductions). Anyformsrequiredbytheproductioncompany,suchasProgramInformation,CostumeMeasurement

    SheetsandEmergencyMedicalInformation.

    Anycourtesiesthatareprovidedtothecompanymembersshouldbeprepared,suchascoolersofwaterorpotsofcoffee.(Yes,StageManagersdomakecoffee.)Coffeeanddonutsorbagelsarehospitalitiesthatarecommonlyprovidedformorningrehearsals.TheSMshouldcheckwiththeproducerbeforerehearsalsstarttoseehowmuchofabudgetisavailableforthissortofamenity.Ifthereisnobudget,trytoarrangeforacollectionfromthecompanyforthiskindofthing(especiallycoffeeandtea).Itsarealmoralebooster.

    TheSMsworkspaceshouldalsobepreparedwiththeschedule,contactsheet,scriptandanyothermaterialsneededbeforethecompanybeginstoarrive.TheSMshouldbecompletedwiththesetasksandfreetoanswer

  • questions,solveproblems,schedulecostumefittingsorcallmissingcompanymembersbeforetherehearsalisscheduledtobegin.Hopefully,thecastwillneverseetheSMteamrunningaroundlikechickenswiththeirheadscutoff.Ifyouarealwaysearlyandalwaysprepared,theComfortZoneisincreased.

    Alwaysremembertobetactfulwhendealingwithcompanymemberswhoarenotaspunctualasyou.Makesurethattheyunderstandhowveryimportantitisthattheyarepresentandreadytoworkatthescheduledtime.Encouragethedirectortostartrehearsalsatthepublishedtime,evenifeveryonecalledisnotpresent.SomeonefromtheSMteamshouldberesponsibleforcallingthestragglerstofindoutwhytheyarenotyetpresent.Asking,Isthereanythingwecandotohelpyougetereontimeismuchmoreeffectivethangrowling,Whyareyoualwayslate?

    Asearlyaspossible,youshouldposttherunningorderoftheshoweverywhere.YouoryourASMshouldproducebigcopiesofthescenesandsongs,includingwhoisineachscene,whatseason,oryearthescenetakesplace,oranyotherimportantinformation.BesurethatanyReprisesareindicatedaswell.Thisrunningordershouldalwaysbepostedinthesameplacefromthefirstdaypossible.Makesurethatitisalwayskeptcurrentandthatiswelllitandeasytoreadataglance.Itshouldbepostedinatleastthefollowingplaces:bothsidesofthestage,thecallboard,thedressingrooms,thegreenroomandanywhereelsethecastandcrewcongregate.

    Ascompanymembersbegintoarrivefortherehearsal,therewillalwaysbeseveralpeoplewhowillwanttoaddressquestionsorproblems.Listentoonepersonatatime,makingsurethatthepersonhasyourfullattention.Makesurethattheyknowtheirproblemisimportanttoyou.

    Ifyoudontknowtheanswertoaquestion,neversay,Idontknow.Say,Illgetbacktoyouonthat.Ifyouwillneedtofollow-upwithsomeoneelsetoansweraquestion,makeyourselfanote.Ifanactortellsyouhewillbemissingarehearsal,makeanoteonyourcalendaratthatmomentinhispresence.Atthesametimeyouareansweringthesequestions,youwillneedtobetakingattendance(unlessyouhaveanassistantwhocansplitthedutieswithyou).

    Irecentlydecidedtosetanewrulewithmycasts.IfIamnotcarryingmynotebook/clipboard,donotaskmequestionsorgivemeconflictdates.ThisprotectsmefromforgettingtowritedownanimportantnoteandinsuresthatIamallowedsometimetocollectmyownthoughtsbeforestartingarehearsal.ItryveryhardtonotbewithoutmynotebookunlessIambusydoingsomethingincrediblyimportanttotheproductionoronabreak.

    Oncetherehearsalstarts,theSMshouldberesponsibleforkeepingthingsrunningsmoothlyandasclosetoscheduleaspossible.ThisisveryimportantwithEquityproductionsbecauseyoucan'tjustdecidetostaylatetofinishupifyouarerunningbehindschedule.Rehearsalsmuststartandstopasscheduledsothatovertimedoesn'tbecomeanissuewithmanagement.

    Inanon-Equitysituation,theSMwillneedtoknowifthedirectorwantsbreakstooccuratalogicalstoppingpointorifformalbreaksshouldbecalled.Ifthedirectorwouldlikebreakscalled,wouldheliketobewarnedafewminutesbeforehandinordertowrapupwhatisbeingrehearsed?

    ActorsEquityAssociation,theunionforprofessionalactorsandstagemanagers,callsfora10minutebreakafterevery80minutesofwork,orafiveminutebreakafterevery55minutesofwork.YouwillbecallingthebreaksandshouldknowwhichscheduletheDirectorwouldprefertoworkwith.

    AsabeginningStageManager,IwastaughtthattheSMdoesntgetbreaks.TherulewasthattheSMshouldstayintherehearsalareaevenwhenthecompanyisonbreak.TheSMwastostayclosetothedirector.Itistruethatmanytimesdecisionsthataffectseveralpeoplearemadebetweenthedirectorandasingleactorduringacasualconversationoveracigarette.TheSMdoesneedtoknowaboutthesedecisionsinordertoinformthevariousdepartmentsorpeoplewhoareaffected.

  • IstilldomybesttomakesurethatIknowaboutanysuchconversations,butInowknowthatIdodeserveabreak.Inaunionsituation,anEquitySMisduethesamebreaksasaperformer.Asmuchaswehatetoadmitit,StageManagersarehumantooandourbodiesneedrestandnutrition.Ifyouendupworkingthroughtheactors'breakinordertoresetforascene,makesureyoutakeabreakassoonasitispossibleforyoutostepawayfromtherehearsal.

    TheSMshouldmakeitagoaltobeinformedaboutallaspectsoftheproduction.ThisisextremelyimportantbecausetheSMisthemainchannelofcommunicationbetweenallpartiesinvolvedwithaproduction.

    ThebestrouteofcommunicationwiththedesignersandshopsduringtherehearsalprocessisusuallythroughwrittenRehearsalReports,E-mailorVoiceMail.Thesenotesormessagesshouldbedistributeddaily,listinganydecisionsmadeinrehearsalsthataffectthetechnicalaspectsoftheproduction.(Occasionally,decisionswillbemadethatwillaffecttheFrontofHouseaswell.)Listenforthedirectortodropthesetechnicalcluesinyourlapandmakenotesofanyquestionsyouhave.

    Ablockinginstructionsuchas,Jane,crossstagerightandpickupthevase.WhenJohnentersyouwillbreakitoverhisheadandthenusethephonecordtotiehimtothechair.Afteryoudoso,gaghimwithhisnecktie.Taketherollofpackingtapefromthetableandtapehisanklestothelegsofthechair.Removehiswalletfromhisjacketpocketandsitdownoppositehimonthecouchasyougothroughit,containsseveralimportantclues.Doyouseeallofthem?

    NotetoProps:Theremustbeabreakawayvaseonstageright.Itwillneedtobereplacedorrepairedeverynight.

    NotetoProps/Scenic:Theremustbeaphonecordsomewhereontheset.(Isitattachedtothephone?Willsheripitoutofthewall?Howlongdoesitneedtobe?)

    NotetoProps/Scenic:TheremustbeachairthatJanecaneasilytieJohntosomewhereontheset.Thechairshouldfacethecouchorbeeasytomovesothatitcanfacethecouch.

    NotetoCostumes:Johnmustbewearinganecktie.ItwillbeabusedeverynightbecauseJanewillbeusingittogaghim.

    NotetoProps:Theremustbearollofpackingtapeonatable.SeveralrollswillbeneededbecausethetapeisusedtobindJohnslegstothechair.

    NotetoCostumes/Props:Johnmusthaveapocketinhisjacket.HeshouldhaveawalletinhisjacketpocketanditshouldcontainID.

    NotetoProps/Scenic:Theremustbeacouchsomewhereontheset.

    TheanswerstothequestionstheSMnotedshouldbeclarifiedwiththedirectorbeforeheleavestherehearsal.Thesenoteswillthenbephotocopiedanddistributedtothedesignersandshopsthenextmorning.Thiskeepseveryonecurrentandnoonecanevertellthedirector,Nobodyevertoldmeweweredoingthat!Ifeveryoneisgettingtheinformationthattheyneedtodotheirjobseffectively,theComfortZoneisonceagainincreased.

    TheStageManagerisalsoresponsibleformaintainingthesecurityofthetheatreorrehearsalspace.Youshouldseethatallprops,costumesandsetpiecesareproperlystoredaftereachrehearsalorperformance.Youshouldalsoensurethatalllightsareturnedout,theghostlightisinplaceandlit,thecontrolboothislockedandthateveryexteriordoorislockedandpulledshut.Thisisataskthatshouldbetakenveryseriouslyasmosttheatrescontainanenormousamountofexpensive,sophisticatedequipment,costumesandfurniture.

    Thisalsoincludesthesecurityoftheproductionbook.Thisbookisthecomplete,currentrecordoftheentireshowandshouldalwaysbekeptinasafeplace.Therearetwowaystoensurethatthepromptscriptisalwayssecure.ItshouldeitheralwaysbewiththeSMoralwaysbelockedinasafeareaofthetheatre.Anotherlittlenote,theproductionbookremainsthepropertyofthetheatre,butitisalsotheStageManagerstoolandanyonewhoneedsaccesstoitshouldreallyasktheSMspermissionfirstasaprofessionalcourtesy.

  • TapingOuttheSet

    Beforetheactorsarereadytobeontheirfeetblockingtheplay,youwillneedtotapeoutthesetonthestageorrehearsalroomfloor.Tapingoutistheprocessofcreatingalife-sizedcopyofthefloorplanonthefloorwheretheactorswillrehearse.ThisallowstheDirectorandactorstogetasenseofthephysicalspacetheyhavetoworkinbeforethesceneryisreadyforrehearsaluse.

    Ifyouaretapingoutarehearsalroomwithmirrors,besuretoasktheDirectorifhewouldlikethecompanytofacethemirrors.Also,besuretoleaveroomdownstageoftheplayingspaceforatableforyourself,theDirectorandanyassistants.YouwillwanttotrytokeepthedoorstotheroombehindtheDirectorsothatpeoplecomingandgoingfromthespacedonotdistractfromtheactionon-stage.

    Totapeoutthefloor,youwillneed:acopyofthefloorplan,ascaleruler,severalcolorsofspiketape,whitegafftape,ablackmarker,somechalk,a50tapemeasure,two25tapemeasures,andpreferablytwoassistants.

    IbeginbylayingoutalineofdarkcoloredspiketapealongtheProsceniumlineandtheUSedgeoftheactingarea.StartingatCenter,Iwillplaceapieceofwhitegafftapeandwrite0.EverytwofeetoneithersideofCenterIlayanewmarkwiththeappropriatemeasurementuntilIreachthewings.(SometimesIusethelargestickynumbersthatcanbefoundatofficesupplystoresinstead.)

    Next,IwillreturntoCenterandlayalinefromDStoUS.Iwilllaytwo-footmarksalongthislineaswell.Thesefirsttapemarksplacedonthestagefloorwouldlooksomethinglikethis:

    12108642024681012|___|___|___|___|___|___|___|___|___|___|___|___|

    Thesemarkswillallowyoutoenvisionthestageasalargepieceofgraphpaperandsimplifytheprocessoftapingouttheset.Theywillalsobehelpfultoyourlightingdesignerwhenhedoeshisfocus.ChoreographersandDirectorswillusethemtosetspacingonthestage.Youwillusethemwhenyounotateblockinginyourproductionbook.Theactorswillevenusethemaspointsofreferencefortheirownblockingnotes.

    Youcannowusethesetwolinesasreferencestoplotsomepointsintheset.Withthescaleruler,measurethedistancefromtheselinestotheendofeachwallorplatformonyourfloorplan.Calloutyourmeasurementsandhaveanassistantmarkthesepointsonthestagefloorwiththechalk.Oncethebasicwallunitshavebeenplotted,theassistantscanbegintolaythetape,connectingthedots.

    Nowdothesamethingtoindicateplatforms,stairs,etc.Eachplayinglevelshouldbeindicatedwithadifferentcoloroftapetoremindeveryonethatthereisachangeinelevation.(Staircasescanremainallinonecolor.)Usingthewhitegafftape,indicatetheheightofeachelevation.(Example:+80)

    Youmayalsowanttolaydottedlinesacrossthestagetoindicatewheredropswillfallforsomescenes.Youshouldusethewhitegafftomarkthenamesofthedrops,suchasblackscrimortreedrop.Foramulti-setproduction,youmightconsiderusingadifferentcolorschemeforeachsetting.

    Whenyouarefinishedtapingouttheset,walkaroundandcheckyourwork.YoudontwanttodiscoveranymistakesduringrehearsalwiththeDirectorandcastpresentandreadytorehearse!

  • TakingBlockingNotation

    Oncethecastisontheirfeet,theSMisalsoresponsiblefortakingblockingnotation.EachSMwilldevelopherownshorthandsystemandsetofabbreviations.Whateversystemischosen,thereshouldbeakeytotheshorthandusedintheproductionbook.Ifindthatasystemofnumberingthemoveswithinthetextandmakingshorthandnotationsontheoppositepageworkswellforme.

    Rememberthatdirectonsaregivenfromtheactor'sperspectivewhenlookingattheaudience.Herearesomeusefulshorthandblockingabbreviations:

    AreasoftheStage

    SR=StageRight SL=StageLeft CS=CenterStage

    RC=RightofCenter LC=LeftofCenter US=Upstage

    DS=Downstage DR=DownRight DL=DownLeft

    UR=UpRight UL=UpLeft UC=UpCenter

    DC=DownCenter PL=PlasterLine QS=QuarterStage

    OtherUsefulBlockingNotation

    X=Cross ntr=Enter Kn=Kneel

    FZ=Freeze /=Beat w/=With

    CC=Countercross BK=Break @=At

    Incombinationwiththisshorthandsystem,Iusethetwofootmarkstomakemyblockingnotesmorespecificandaccurate.Icanactuallyplotthepointsthatscenerymustplayorthemarksthatperformersmusthit.Ifthereisaquestionregardinganactorsplacement,IcansimplysaytheWitchissixfeetrightofcenterandtwofeetupstageoftheproscenium.(Recordedas:WI6RC/2US.)ThissystemreallyistheeasiestandmostaccuratethatIhavefoundtorecordblockingnotation.

    Whenrecordingblocking,youshouldalsobetakingnotestotrackthemovementofeveryprop,costumeandsetpiece.Youshouldknowwherealloftheseitemsstart,whenandwheretheymove,whomovesthemandwheretheyendup.Thiswillallowyoutoprepareaccurate,detailedpresetlistsforyourcrew.ItalsoallowsyoutoquicklyresetthestageduringrehearsalsiftheDirectorwantstopickupinthemiddleofascene.

    Prompting&LineNotes

    PerhapsoneofthemostdelicatedutiesthataStageManagerisaskedtoperformduringtherehearsalprocessisprompting.EverySMshouldrememberthattheActorisafrailcreaturewhoseegoiseasilybruised.Whenthecompanygoesoff-bookandbeginstocallforlinestheboundariesoftheComfortZonearetestedtotheirlimits.

    Thetwomostimportantqualitiesinagoodprompteraretactfulnessandtheabilitytoblockoutalldisruptions,focusingonlyonthescript.Thesecondthatanactorcalls,Linethepromptershouldbeginthefeedthewords

  • straightfromthescript.Oneofthehardestthingsformanyprompterstodoistokeeptheenergyofthesceneconstantwithoutenteringtheirowninterpretationofthelineintotheprompt.

    Nomatterhowfunnythemistake,rememberthatpartoftheSMsjobistomaketheactorscomfortable.TheSMshouldntlaughatmistakesordoanythingthatwouldmakecompanymembersuneasy.Remember,itisthedutyoftheSMtocreateanatmosphereinwhichanythingispossible.Thisatmosphereisessentialforfosteringthecreativeenergyinsideofeveryoneinvolvedwiththeproduction.

    IlearnedthislessonthehardwayasanASM.IwasholdingbookforarehearsalofVaclavHavelsTheMemorandum.Muchofthedialogueinthisplayisrepetitiveorwritteninaninventedlanguageusedonlyintheworldoftheplay.

    OnenightIgottickledbecausetheactorsweretwistingsomeofthelinesaroundandbasicallytalkingthemselvesincircles.Therehearsalprocessforthisshowwasrathersolemnandmygigglyresponsewhensomeonecalledforalinewasnotappropriateorappreciated.AfteradiscussiononpromptingetiquettewiththePSM,Imadeaconsciousefforttokeepmythoughtstomyselfduringrehearsals.(Andsheadmittedshewashavingaheckofatimenotlaughingherselfduringthatparticularrehearsal!)

    Occasionally,SMswillwanttotakewrittenlinenotestodistributetotheactorsdetailingmistakesordeviationsfromthescript.IusethesenotesmostoftenwhenIamworkingonashowwritteninrhymedverse,suchasShakespeareorMoliere.IfsomeoneontheSMteamisanexcellentnote-taker,itisthemosteffectivewayofkeepingthecompanytruetotheplaywrightswords.

    HandlingArtisticTemperaments

    NowforthetrueartofStageManagementduringtherehearsalprocess;peoplemanagement.ManypeoplearguethattheSMisnotamemberoftheArtisticStaff.TheSMdoesnothaveinputintotheartisticdecisionsregardingtheproduction.TheSMis,however,justascreativeandartisticallytalentedasanyothermemberoftheproduction.Thisartisticenergyissimplyfocusedindifferentareas.Peoplemanagementisnotascience.Itisanartform.

    OneofthehardestthingsforbeginningSMstorememberisthatnoteverythingistheirfault.Whenamusicaldirectorisred-facedandscreamingatyoubecausethedirectorwontgiveanyoneaschedule,takeadeepbreath.Silentlyremindyourselfnottotakeanythinghesayspersonal.Listentohisproblems.Assurehimthatyoullfixeverything.NowtaketheprobleminhandanddoeverythingyoucantobringhimbackintoTheComfortZone.Eventuallyyouwillgetanapology.Youwilldefinitelyearneveryonesrespectifyoudontraiseyourownvoiceandyoulistenattentivelytohisproblemsandcomplaints.

    Whenhandlinganupsetperformerduringashow,thebestwordofencouragementyoucanofferare,Theaudiencedoesntknowwhatitissupposedtolooklike,andClearyourhead,regainyourfocusandmoveon.

    Nomatterwhathappens,StageManagersdonotyellorscream.TheSMteamcancomplaintoeachotherinprivateasmuchastheyneed,butdontletanyoneinthecompanyhearyournegativecomments.Nomatterhowbadthesituation,rememberthattheSMmustdoherbesttoremainupbeatandpositiveatalltimes.Whenthingsseemimpossible,everyonewillbelookingtotheSMforassurancethatthingswillturnoutallright.ASMwholoseshercoolorcomplainsallthetimehasnochanceofcreatingTheComfortZone.

    Whenthewholeproductionseemstobefallingapartaroundyou,mybestwordsofadvicecanonlybeborrowedfromprofessionalStageManagerThomasKelly,Allthingsarenotofequalimportance.EachnewchallengethataSMfacesisalearningexperience.Prioritizeyourtasksandrememberthatitsonlytheatre,notAIDSresearch.

  • PreparingforTechWeek

    Yourpreparationforasuccessfulandlow-stressTechWeekbeganthedayyouwerehiredtostagemanage.Eachquestionyouhaveaskedanddecisionyouhavemadefromthatfirstdayhavebeenthesteppingstonesleadingtothefirsttechnicalrehearsal.

    Yourtechnicalanalysisofthescripthashelpedyoutoanticipatewherecueswillbeplaced.Youhavemadelightpencilmarksthroughoutyourscriptwhereyoubelievethesecueswilloccur.Yourattentivenesstothedirectorscommentsinrehearsalhasgivenyouanunderstandingoftheuseofthesetandproperties.Youhavealsodevelopedafeelingforthedesiredpacingofperformances.Theextensivenotesthatyoutookatproductionmeetingsandinrehearsalshavegivenyouanunderstandingofboththedirectoranddesignersconceptualizationoftheproduction.

    Nowthatyouarearmedwithallofthisknowledge,thenextstepthatIwouldrecommendisaPaperTech.Aboutoneweekbeforeenteringtech,ItrytosetasideaboutafourhourblockoftimeinwhichIcanmeetwiththedirector,technicaldirector,myassistantsandallofthedesigners.Weslowlytalkthrougheverytechnicalelementoftheplay,fromtheoverturetotheexitmusic.Sometimesweattempttoactuallynumberthecuesinthismeeting.Wediscusswhatorderthingsneedtooccurinandhowmanycrewmemberseachtaskwillrequire.Thegoalofourdiscussionisforeveryonetohaveacrystalclearunderstandingofwhatisrequiredtoexecuteeachseriesofcuesandwhyeachstepistaken.

    Manytimes,especiallywithacomplexset,itishelpfultohaveeitherascalemodelwithmovablepartsorafloorplanwithcutoutsofeachsetpiecesothatyoumayplaypaperdolls.Youcantalkthrougheachchange,movingthemodelpiecesaroundtosimulatethesetchange.Thiswillhelpyoutodeterminetrafficpatternsbackstageandstorageofsetpiecesinthewings.Italsohelpsyouseewhatmightbeinyourwaybeforeyoutrymovingtherealsetpiecesandenduprunningoveralegorpunchingaholeinthescrim.Mostimportantly,donotrushthroughthesediscussions.Makesureyouunderstandeverythingthathastohappenandeverythingthatcouldgowrong.

    Ifyouwillworkfromatechtableinthehousebesidethelightingdesigner,requestthatitbeplacedinthehouseearlysothatyoucangetusedtotheworkingspaceandsightlines.IliketoplaceapieceoflumberoverthechairarmsandsitonthissothatIamslightlyelevated.Itnotonlyhelpstosimulatemyviewfromthelightbooth,butitalsokeepsmyfocuson-stageinsteadofinmyproductionbook.Ifyouwillworkfrombackstage,makesureyouhaveenoughroomandenoughlight.

    Ifyourpropstableshaventbeensetupyet,requestthemnow.Determinethelocationsofbackstagequickchangeareas.Makesurethatcostumeracksandmirrorsaremadeavailableforthesebackstagedressingareas.Askforgelledrunlightsandworklightsbackstage.

    Thisisalsoagoodtimetocommunicatehowmanyheadsetsyouwillwantandwheretheyshouldbeplaced.Ifitispossible,askforagodmikesothatyoucancommunicatewitheveryoneinthetheatrespacewithoutyelling.Besurethatyouwillhavecontrolofturningthismikeonandoffsothatyoucancommunicatequickly.

    IlearnedthevalueofhavingagodmikeduringGuysandDolls.DressRehearsalwasthefirsttimeweusedabreak-awaybottleforthefightsceneduringtheHavanascene.Afterthefightscenewasover,oneoftheactorsplayingawaiterwastosweepupthemess.Becausethecrewhadnottakenthetimetowrapthebottlewithclearpackingtape,itbrokeintolotsoflittlepiecesandhedidntgetallofitsweptoffstage.

    TheactressplayingMissAdelaidemadehernextentranceandfellflatonherback.TheperformerplayingSkylookedatherandsaid,incharacter,MissAdelaide,areyouallright?SherepliedNoandIsenttheentirecrewintoactionoverthegodmike.

  • Paul,pleasehelpheroffstageleft.StageLeft,someoneclearapathandgetherchairandaglassofwater.StageRight,IneedsomeonetotakeanicepackandsomepainkillerstoStageLeft,Icalmlyinstructed.Mostofthecrewhadnotevenseentheaccidenthappen,buttheactresswasinstantlytakencareofbecauseIwasabletocoordinatetheentireeffortovermygodmike.Itreallyisawonderfultooltohaveinanemergencysituation.(Onceagain,Ican'tstressenoughhowimportantFirstAidtrainingisforStageManagers.Knowingwhattodoanddoingitquicklyisveryimportant.)

    Afterthepapertech,Iwillbegintodrawupcuesheetsforthedeckandrailcues.Iwillmakesurethattheflyshavebeenspikedtotrimandthesetpiecesarespikedandglowtaped.Ialsomakesuretherewillbeplentyofspiketape,glowtapeandclearpackingtapeavailableduringthetechrehearsals.(Clearpackingtapeworksgreattokeepspikeandglowtapefromcomingup.)IwillfinalizethepropertiesplotsthatIhavebeencreatingfrommyrehearsalnotes.Iwillworkwithmyassistantstoassigncrewmembersspecificshifttasksandproduceplotsforthestorageofsetpieces,aswellasBackstageTrackingSheets.IwillgooverthechangesstepbystepinmyheadandwiththepaperdollseverychancethatIget.ThespecificsofthesemovesneedtobecomesecondnaturetotheSMteambeforethecreweversetsfootonthestage.

    RunForYourWifePreshowChecklist Arriveonehourbeforehouseopens. Gettwowirelessheadsetsfromlightbooth.Placefreshbatteriesinboth.PlacemyheadsetonSL

    podium.PlaceChad'sheadsetonSLproptable. GetMike'scameraandmykitfromMike'soffice(Joelhaskeys).PlaceflashoncameraandputitonSL

    HALLproptable.PlacekitonSLproptable. Doanydishesnotwashedpriornight.(teacups,teapot,plates,waterglasses,coffeecups)While

    washingdishes,boilwaterfortea.Boileggsifnecessary. SetbreakfasttryonSRproptable.(2plateswithbagels&eggs,2browncoffeemugsonflatsilvertray) SetteatrayonSLGREENproptable.(traywithwoodenhandles;teapot,3teacupsonsaucers,sugar

    bowl)Laypinkapronovertray.SetteakettlefullofteaonSLGREENproptable. Makesuresoda,ketchupandvinegarwereresetonSLGREENproptable.Also,makesuredishbrush

    issetonSLGREENproptable. Lunchbox,4waterglasses,milkjug,2cakesonplates,notebooks,cleanbowl,largesponge,newspapers

    and2whitecoffeecupsonSLHALLproptable. Checkset:Makesurebothsetsofblindsareclosed.HasSRDoorbeenreset?Straightentablesand

    dressings.Coilphonecordsbehindtables.Makesurewastebasketisempty. Checkterracelights.Checkrunlights. Chargeglowtape. CheckwaterpitchersandcupsonSL. Checkquickchangecostumes.MARY:bluerobe,bluedress,blackstay-upstockings,blackshoes,blue

    clutchhandbag.BARBARA:longreddress.

    RunForYourWifeBackstageTrackingSheetActI

    AtJoel'sPlacesCall:CarissaSR&ChadSL CuesfromJoel@TopofAct:SRcuesBARBARAon;SRdressesMARYinbluerobe;SRcuesMary

    on;SR&SLcueBARBARA&MARYatwindows. AtLQ6CarissamovesSLandchangesBreakfasttraytoCakeTray(2platesofcake,milkbottle)and

    setsitonSLGREENproptable.Movestruckpropsintohallway.Chadgoesoffheadset. BottomofPage23:CarissapoursMARY'swaterandplacesitonledgeofSLmaskingflat.

  • TopofPage39:CarissamovesSRtoprepareforMARY'squickchange.MakesureEricistheretohelp.

    ChadcuesBARBARAandPORTERHOUSEonUSConJoel'scue. Carissa&EricdressMARY.Carissa:bluedressoverhead(topthreebuttonsundone),setshoesforher

    tostepinto,handherblueclutchpursewhensheisbuttonedup.Eric:putsherblackstay-upstockingson.(Shewillbuttondressherself.)

    BottomofPage54:CarissashouldbeSRforJohn'sfastchange.Getshirtready,tophalfunbuttoned,sleevesunbuttoned.

    "Teaseourselves"Carissa:putJohn'sshirtonandbuttonit.Helphimstepintopants.GivehimBarbara'slongreddress.Afterchange,moveSL.

    BottomofPage65:CarissatakescakeandmilkjugfromBOBBYonSL. EndofAct:Carissalightsstairsforexitingactors,giveJoelallclear,turnonterracelightsatJoel'scue.

    ThedaybeforethefirsttechIwillinquireaboutanysetpiecesthatwillnotbereadyforrehearsal.Iwillbesuretoeatwell,takemyvitaminsandgetagoodnightssleep.Itisveryimportanttostarttechweekwellrestedandinapositivemood.Takebubblebaths,haveaprofessionalmassage,meditate,doanythingthatrelaxesyouandhelpsyoufocus.

    RunningTechnicalRehearsals

    ThefirstdayoftechIliketoarriveearlyenoughtospendalittlequiettimeinthetheatre.Iwillpostthesign-insheetsandmakefinalcopiesofthecuesheetsandshiftplots.IwillwalkaroundbackstagebymyselfinspectingthesetandwingsasIgoovermyownpresetnotes.

    IwillalsobesurethatIallowenoughtimetopositionmyselfandmymaterialsatmycallingstation.Imakesurethatmyheadsetandpilotlightworkandcheckthegodmikeforfreshbatteries.IspreadanysuppliesImightneedoutabovemyproductionbookandmakesurethatIhavelotsofsharppencilsandbigerasers.Iplacealargeposterthatliststherunningorderoftheshowtotherightofmybookandpossiblyalistofgoalsfortherehearsal.Ialsofindasafespotformywaterbottlethatisconvenientforme,butnowhereneartheproductionbook.

    MakesurethatyouAssistantshaveseveralcolorsofspiketapeandlotsofglowtape.Somethingmighthavebeenmissedwhenthestagewasmarkedbeforeoraddedforthefirsttimeinthisrehearsal.TheDirectormaychangehismindaboutanoldspikemark,oranactormightneedaspikemarkinordertofindhislight.Also,besurethattheAssistantsandcrewchiefs,etc.havecompletelistsofthecrew,lotsofpencilswitherasers,andcurrentversionsofthecuesheetsandpresetlists.Theywillassistyouindistributingthisinformationtotheircrews.

    BythetimethatIhavepreparedmypersonalspace,thecrewshouldbearriving.Iwillgreeteachcrewmemberandintroducethemtothedeckmanagers,departmentheadsandASMswhowillexplaintheirduties.

    Inmyexperience,firsttechsrarelystartontimeoutsidetheprofessionaltheatre.(Thereismuchmorepressuretostartontimewhenthevariousunionsareinvolvedoryouwillactuallylosetherehearsaltime.)Itisthecrewsfirsttimetojoinrehearsalandthecastisoftendealingwiththeappearanceofnewpropsorscenicelements.Thegoalshouldalwaysbetobegintherehearsalinareasonableamountoftime,butbesurethatallofthedepartmentsareprepared.Youwillfindthatoverthenextfewdays,thewordsyouwillusethemostare,Quietplease!

  • Wheneveryonefinallygetsontheirheadsets,itisntunusualtosuddenlydiscoverthatthespotoperatorscanthearthelightingdesignerorvice-versa.Asalways,ifanythinggoeswrongorthrowsyouoffschedule,staycalm.InthewordsofRudyardKipling,Keepyourheadwhenallaboutyouarelosingtheirsandblamingitonyou.Getthingsfixedasquicklyaspossibleanddontletthecastandcrewwanderoffwhileitisbeingdone.Givethemarealisticestimateofhowlongtheywillbewaiting.

    Ifthereissomethingproductivethatyoucandowhileyouwait,byallmeansdoit.Havethemusicaldirectorrunasongwhileyoutalkthroughthenextsceneshiftwithyourcrew.Trytomakeeverysecondoftherehearsalproductiveandkeepeveryonefocusedonthegoalsyouhaveset.

    Youshouldberesponsibleforthepaceofthetechnicalrehearsals.Itisultimatelyyourdecisionwhenyouarereadytostartandifyouneedtoholdtocorrectanerror.Ifyoudohold,itisuptoyoutodeterminewheneveryoneisreadytoproceedorhasresettorepeatasequence.

    TheStageManagershoulddoherbesttostayattunedtotension,conflictsandthegeneralmoraleoftheproduction.Techweekisalwaysastressfulperiodintheproductionprocess.Sometimes,iftheStageManagementTeamisbeingoverwhelmedbythetechnicalrequirementsoftheproduction,theyforgettomakethemselvesaccessibletothecompany.Makesurethatthecompanyknowstheycanstillcometoyouwiththeirproblemsorconcerns.

    YoushouldworkveryhardtoensurethatthecastknowsthattheentireStageManagementTeamistheretosupportandassisttheminsolvingproblemsorconflicts.Thisisessentialinordertoachievethebestperformancepossiblefromeachandeverymemberoftheproduction.Youwillneverknowifapersonalityconflictisoccurringbackstagebetweenaperformerandherdresserifyoudistanceyourselffromthecastatthistime.Beingacommunicatoralsomeansbeingavailabletolisten.

    RehearsalisjustasimportanttotheStageManagersroleinaperformanceasitistoanactor.Eachcompanymembershouldthinkthroughtheirscenes,songs,movementandlineseverydaythattheshowisinproduction.ItishelpfulfortheStageManagertothinkthroughtheshowinthesamemanner,callingeachStandbyandeachGoasifaperformancewereactuallyinprogress.

    Itendtodothisalotinmycaronmywaytoandfromthestore,thetheatre,etc.WhenIamstagemanagingamusicalIwillkeepthesoundtrackoratapeofarehearsalinmycarandcallthecuesasIlistentoit.ItrytorunthroughthemorecomplicatedscenestwoorthreetimesonmyownbeforeIarriveatthetheatreforeachrehearsalorperformance.

    Duringafirsttech,Iprefertoworkthemorecomplicatedscenechangesthreetimes.ThefirsttimeIwantfullworklightsandnoactorsintheway.Thecrewwillexecutethechangeslowlyinfulllightsothattheylearnhowthesetpiecemoves,wheretheyaregoingandwhatisintheirway.Nextwewillrunthechangeathalfspeedwithactorsinplaceandtheactualstagelighting.Thirdwewilltryforrunningspeed.Ifeveryoneseemstohaveabasicunderstandingofwhattheyaredoingintheshift,Imoveon.

    Thereisnoneedtoexhausteveryonebyexecutingachangeagainandagainforspeedatafirsttech.It'slikethefirstreadthroughfortheactors,youdon'texpectperformancequalityyet.Thecrewwillbuilduptorunningspeedastechweekprogresses.Makenotesofchangesthatareclumsilyexecutedortoolong.TalktoyourASMorDeckManageraboutwhatcanbedonetomakethesechangesrunmoresmoothly.Iftheydonotimproveafteracoupleofrehearsals,youcansetanearlycalloraskthecrewtostaylatetopolishthem.

    MytechweekforPeterPanwasanespeciallyroughone.TheshowwastechnicallycomplexandIdidntgetenoughpreptimebecauseIwasworkingtwoshowsatonce.Theshopwasbehindonthebuild,thecastandcrewwereplaguedwithillnessandwehadmanyabsencesduetosomenastysnowstorms.

  • BythetimethatwegottoActIII,thesceneonCaptainHooksship,wewerejustspeedingthroughthingsasquicklyaspossible.Ididntinsistthatwetakethetimeweneededtoworkthemostcomplicatedshiftintheproduction.Iendedupaskingthecrewtostayafterrehearsalonenighttoworkonthisscenechange.

    Ourpirateshipwasnearly30feetinlengthandhadtomoveoffstageinonepiece.Beforeitcouldmove,thelegshadtobedressed,lightingbattenshadtobeflownouttoclearapathandthesailandPansflightlinehadtobeunhooked.Oncetheshipstartedmoving,thethirdlegs,scrimandsicweretogooutandthenurserywastomovedownstage.Nanasdoghousewastocomeonfromdownright.Oncethenurseryunitwasclear,thelegsweretocomebackin,alongwiththecycandblackscrim.Allthewhile,thedryicefoggersshouldbegoingfullforce.

    ThefollowingdisasteriswhathappenedinfrontofaninvitedaudienceonPreviewNight.Theshipstartedmovingfirst,whilethelegsandlightingcableswerestillintheway.TheradarclothontheNeverlandsideofthesetgottangledaroundthecastorsandmadeitalmostimpossibletomovethehuge,heavyship.Thecrewcouldntcontrolitandtheshiphittheprosceniumwall.

    Atthesametime,theblackscrimstartedflyingininsteadofout.Thebattenalmosthitthedeckbecausetheoperatordidnthaveaheadsetandwastakingcuesfromsomeoneontheoppositeendoftherail.IchantedThescrimneedstogotheotherway.Thescrimneedstogoout,somanytimesitfeltlikeamantra.

    Thescrimandcycfinallywentoutandtheshipgotoffstage.Asthenurserystartedmovingdownstage,thecycstartedbackin.Oncemore,ittooktimetorelaytotheoperatortostopthecycbecausehedidnthaveaheadset.Withfogstillpumping,thenurseryfinallyfounditsspikeandtheflyswereallreset.Iaskedforavisualontheactorswaitingtoenterupstage.Therewerenoactorspresent.ItturnsoutthattheDarlingchildrencouldntgetaroundtheshiptogetupstageofthenurserywindowfortheirentrance.

    Whatamess.Thisallhappenedinfrontofanaudienceanditfeltlikethelongestmomentsofmylife.Ihadntinsistedonthetimeweneededforeveryonetolearnthisshift.Icalmlysaid,Iwanttoseetheentirecrewon-stageaftertheshow.WewentonwiththeperformanceasItriedtofocusonwhatwasstillaheadofus.

    Aftertheshow,Iwentbackstagetofindthecrewwaitingon-stage,loungingaboutthenursery.Theyallhadglumfacesbecausetheydidknowhowbadtheshiftlooked.Idismissedthelightandsoundpeopleandaskedeveryoneelsetoresetthepirateship.TheyaskedwheremyASMwasatandIsaidthatshewasprobablyhavingawelldeservedcigaretteandtheycouldresetwithoutherhelp.Icollectedmyownthoughtsandmovedmyproductionbookandcuesheetsontotheapron.

    Oncethestagewasreset,theASMandItalkedthecrewstepbystepthroughthechange.Weemphasizedwhyeachthinghadtohappeninacertainorderfortheshifttoworkcorrectly.Wedeterminedthattherailcrewmemberswhohadtomovemultiplelinesetswereassignedtothecorrectlines.WedecidedthattherewasnoreasonthattheDarlingchildrencouldntenterfromtheoppositesideofthestagetoavoidanyfurthertrafficjams.WealsodiscoveredthatitwasnecessaryforsomeoneonthedecktogiveaClearwhenthelegandlightingcableswereoutofthewaysothatthecrewcouldbeginmusclingthehugeshipoffstageleft.

    Nowthattheorderseemedtobeclearineveryonesminds,Isenttheflycrewbacktotherail.Thedeckcrewallsatandwatchedthelinesetsmove.Wetalkedthroughwhatshouldbehappeningonthedeckasthishappened.Aftertherailcrewhadcorrectlycompletedtheshift,theywereaskedtoreset.ThedeckcrewtooktheirplacesandIcalledoutthecuesfortheentireshift.Thecrewsuccessfullycompletedthescenechangeandassuredmethattheywouldindeedremembereverythingwehaddiscussedthenextnight.

    WhatdidIlearnfromthisfiasco?Insistontherehearsaltimeyouknowyouneed.Donotrushthroughscenesjusttogetthroughthem.Makesureeveryoneunderstandsnotonlywhatmusthappeninacomplicatedshift,but

  • whyitmusthappeninacertainorder.Thecrewdidlearntheshiftafterourextrarehearsaltime.Thedirectorwaspleasantlysurprisedtoseetheimprovementthenextevening.

    Rememberthateveryone'ssafetyshouldalwaysbetheStageManagerschiefconcern.Inordertoensurethesafetyofthecastandcrew,youmustremainalertandfocusedontheactiononstage.Thecastandcrewareallpartofthesameteamandmustbeabletocountononeanotherinordertoensurethesafetyofeveryoneinvolved.

    DuringtechnicalrehearsalsforIntotheWoodsIwascallingacomplexscenechangenearthebeginningoftheshow.Thecharacterswerealltostepdownstageoftheshowdropandthetabsthatrepresentedthethreehousesweretoclosebehindthem.Icalledthecueforthetabstoclose,countingonJacksMothertomakehercrossatthepointshehadbeenblockedtodoso.Iglanceddownatmybooktoseewhatwasnextinthesequence.Inthefewsecondsittookmetofindmyplaceandlookbackup,thetabwasinchesaboveherhead.BeforeIcoulddoanything,JacksMotherhadbeensmackedontheheadbytheheavydrop.

    Thankfully,shewasnotbadlyinjuredandwewereabletogoonwiththerehearsal.ShesimplyhadaheadacheandIwasabitfrazzledbywhathadhappened.

    Threepeoplecouldhavepreventedthisaccidentfromoccurring:

    TheActress(JacksMother) Shecouldhaveexecutedherblockingasinstructed. Shecouldhavebeenmorealerttothemovingsceneryandrealizedsheneededtomovesooner. TheOperator(FlyRailCrew) Theflymancouldhavehadhiseyeson-stageinsteadofontheropes. TheStageManager(Me) Ishouldhaveexecutedthesequenceinworklightsfirstwiththeactorswatchingsothateveryone

    understoodwhenandwherethingsmoved. Ishouldhavehadmyeyesonstagetheentiretimeandbeenabletocallaholdbeforethedrophitthe

    actress.

    Eventhoughthereweretwootherpeoplewhocouldhavestoppedthisaccidentfromoccurring,Iregarditasmyfault.Iwasthepersonresponsibleforthesafetyofeveryoneonthatstage.

    Ittookafewmorerehearsalstoworkthischangeoutsmoothly.Theactresshadnevermovedatthesamepointinthemusicandwasrobbingthecrewofprecioustimetoexecuteamajor30secondscenechange.Aftershewasinjured,wediscussedthechangeandmadesurethatsheunderstoodhowimportantitwasthatIcoulddependonhertomoveinthesamemeasureduringeachperformance.Theproblemwassolved,thechangebegantorunsmoothlyandtheactresswasnotinjuredagain.

    Toensureeveryonessafety,youshouldalsobesurethatallrunlightsareworkingforeveryperformance.BeforeaperformanceofAngelStreet,theASMdidntcheckthebackstagerunlightsonenight.Thelightontheescapestairsupstagehadnotbeenturnedon.TrustinginthecrewandherStageManagersnottoputherinadangeroussituation,theactressplayingBellaattemptedtoexitdowntheescapestairsinablackout.Shefellandturnedherankle.Luckily,shewasnotbadlyhurt.TheASMlearnedavaluablelessonthatnightandtherunlightswerereligiouslycheckedbeforeeveryperformancefortherestoftherun.

    Duringtechnicalrehearsals,theDirectorandDesignersmaymakechangesregardingtheexecutionoftechnicaleffects.Theymayalsowishtogiveyounotesonroughlyexecutedsequences.Whenyouaregivennotesorchanges,writethemdownimmediately.TheStageManagershouldalsoberesponsibleforensuringthateveryoneelseisrecordinganychangesoradjustmentsontheirowncuesheetsandpresetlists.Takingthetime

  • todothiswillalmostcertainlysaveyoutimeandheadacheslater.ThisiswhyImakesurethateveryoneisprovidedwithapencilbeforethefirsttechrehearsalbegins.

    AsIamworkingthroughtherehearsal,IwilltakeanynotesfromthedirectorordesignersregardingmycallsonPost-itnotesandstickthemontheappropriatescriptpage.Theypopoutofthescript,servingasagreatreminderthenextdaythatIneedtoadjustorchangemycallingofacue.

    Neverforgetthattoimprove,youmustlearnfromyourmistakes.Ifyouaregivenanote,besurethatyouunderstandit.Ifpossible,repeatthenotetothedirectorordesignerinyourownlanguagetomakesureyouareonthesamewavelength.Ifyoudontunderstandaseriesofcues,askthedesignertoexplainthem.Whatarethecuessupposedtodo?Howshouldthetimingfeel?Youshouldneverbeafraidtoaskquestions.

    Keepinmindthatifyouarereceivingalotofnotesfromyourdesigners,maybeitistimetotryanotherformatforyourcallingtext.Learntogetyourheadoutofthebookandyourfocusonthestagebecausethatiswhereallofthemagictakesplace.Themostimportantthisistonotonlyhaveanunderstandingofthefunctionsoftheindividualcues,buttoalsohaveafeelfortheflowoftheentireproduction.Nomatterwhichmethodyouchoosetoassembleyourproductionbook,rememberthatcallingashowisanartform,notascience.

    MoreSMsneedtolearntothinkofthelightingdesignasoneoftheactorsorasanothermusicalinstrument.Theaccuratecallingofaperformancecontributestotheoveralleffectivenessoftheproduction.Awell-calledshowhelpsgivefocustotheappropriateactiononstageandintensifiestheemotionsfeltbytheaudience.Ifyouredoingyourjobright,theshowshouldrunsosmoothlythattheaudiencewontevenrealizethetechstaffexhists.

    Aboveallelse,remembernottotakeanynotesthatyouaregivenpersonally.Everyoneisworkingtowardsthebestproductionpossible.AstheStageManager,youarethechiefelementintheexecutionandartisticpresentationofmanypeopleshardwork.TheDesignersareMonetcreatingacanvasonthestageandinmanycasesyouwillfindthatyouarethebrushwhichcompletesthestrokes.

  • CallingtheShow

    TherearefourdifferentmethodsthatIusetosetacallforacue.TheStageManagermuststudythecuesbeforethefirsttechnicalrehearsalanddecidewhichofthefourmethodsisrightforeachindividualcue.ThefourwaysIsetcallsare:VisualCues:

    AvisualcueiswhentheStageManageriswatchingforsomethingtohappenonstagetotriggerthecallforthecue.Examplesofvisualcuesinclude:whentheactressisonthesecondstepupfromthedeck,whentheactortouchesthelightswitch,etc.SometimesavisualcuewillbetakenbytheoperatorwithouttheSMcallingaGo.

    TextCues:AtextcueiswhentheSMiswaitingforanactortosayawordorphraseinthetextonwhichthecuewillbecalled.ThisisoftenbrokendownsofarthattheSMmightcallacueonasyllable.

    MusicCues:Inthecaseofamusicalcue,theStageManagerisfollowingthemusicorwatchingtheconductortotriggeracue.Youcouldbelisteningforachangeintherhythm,theentranceofaparticularinstrumentorsimplywatchingtheconductorforadownbeat.ItismoreimportantforaSMtobeabletoreadbasicrhythmsthantoactuallybeabletoreadthemusicnotefornote.

    TimedCues:Whencallingtimedcues,theSMisusuallywatchingastopwatchtotimeoutacomplicatedsequenceofevents.Ifindthatthismethodisoftenhelpfulincallingcomplexopeningscenes.

    Onceyouhavedeterminedhoweachofyourcallswillbeset,Ibelievethattherearefivekeypointstoactuallycallingagoodperformance.ThesearefivelessonsthatIhavelearnedovertheyearswhichIbelievehaveimprovedmyowncallingabilities.ThesefiveskillsthatIbelieveeveryStageManagershouldworktoachieveare:StayFocused:

    ItisjustasimportantfortheStageManagerandcrewtoremainfocusedandkeeptheirheadsintheshowatalltimesasitfortheperformersonstagetohavefocus.Inmanyways,itismoreimportantbecausescenechangesarenotsafeiftheStageManagerandcrewarenotfocusedonwhattheyaredoing.Becauseofthis,itisimportanttokeepunnecessaryconversationbackstageandonheadsetstoaminimum.Whenamistakeoccurs,talkingaboutwhathashappenedoverheadsetcanoftencausemoremistakesormissedcues.Solvetheproblemandgoonwiththeshow.Itcanbediscussedafterthefinalcurtainfalls.

    EyesOn-stage:Keepyoureyeson-stagebecausethatiswherealltheactionistakingplace.TheStageManagerneedstoknowtheshowforwardsandbackwardsbeforeTechWeekstarts.Youshouldbeabletoturnthepagesinyourproductionbookwithoutevenlooking.Inmostcases,youhavethebestviewofthestage.Ifyoureyesareon-stage,youcanrecognizeandcorrectproblemsmoreefficiently.Hopefullybeforetheyevenoccur.Youreyesmusttellyouifitissafeforthecrewtoexecuteascenechangeordetonateapyrotechnic.BeforeIlearnedthisskill,IwouldgetconstantnotesfrommydesignersregardingcuesthatwerecalledlatebecauseIwasntwatchingthestage.Ifyoumustcallfrombackstage,insistthatyouhaveafullstagevideomonitorand,ifatallpossible,aconductormonitor.

    Anticipation:Oneofthehardestthingstolearnaboutcallingcuesistoanticipatethecall.Youmustcallacueasplitsecondbeforeyouwantittooccurinordertogivetheoperatorstimetoreact.Timingiseverything,soasIsaidbefore,theSMmustknowtheshowlikethebackofherhand.Knowingtherhythmoftheshowiscrucial.Howdoesthedirectorwantthepacingtofeel?Youshouldalsoknowwhereyourcasttendstoadlib,changelinesoroccasionallygetlost.(Ifpossible,youshoulddoyourbesttobreakthemofthesebadhabits!)

    Consistency:Astechweekprogresses,youshouldbegintodevelopaconsistentcallingstyleandrhythm.Yourcrewmembersshouldbeabletocountonyouwarningthemofanupcomingsequenceatthesametime

  • duringeachperformance.TheyshouldbeabletoanticipatethepauseyouinsertbetweenthewordsLightCue38andthewordGo.Youllknowwhenyoufindthatmagicrhythmthatdrivestheperformancebecauseeverythingwillfeelsmoothandautomatic.AsWilliamHurtsaidinBroadcastNews,wheneverythingisreallyclickingitfeels,likegreatsex!

    ComposureNomatterwhathappenson-stage,keepyourcool.Youmustbeabletomakequick,level-headeddecisionsifsomethinggoeswrong.Thisisaveryhardskillformanypeopletomaster.Unfortunately,thebestwaytolearntomaintainyourcomposureistosurviveafewperformancecrisesofyourown.IveseenCaptainHooksshiphittheproscenium,battenshitthedeck,andsceneryhittheactors.Ivebeentoldthatthefiredepartmentisknockingatthedockdoorduringapreviewandthatanactorishavingaseizureinthewings.Theseexperienceshavetoughenedmyskinandtaughtmetokeepmycool.

    Alwaysrememberthatthecrewisreadytofollowyourleadandassistyouinsolvinganyproblemsthatoccurduringtherunoftheshow.Forthemostpart,theyalsoknowwhentheyhavemademistakes.Goingoffonacrewmemberforamissedcueorapoorlyexecutedshiftwillonlymakemattersworse.Discussitlaterunlesstheshowcannotproceedwithoutanimmediatecorrectionoftheerror.

    BeginningStageManagersoftenfeelgreatanxietythefirsttimethattheyareaskedtocallasetofcomplicatedcues.Ihavefoundthatoneeffectivewaytofightoffthisanxietyistokeepabottleofwateratyourstation.Afewmomentsbeforetheseriesstarts,takeadrink,adeepbreathandfocus.Visualizetheeffectshappeningcorrectlyinyourmindseye.

    Italsohelpssomepeopletokeeplittlestresstoysattheirstations,suchasaKooshballoranIsoFlexballoon.OnetheatreIworkedinhadacollectionofHappyMealtoysthatpastStageManagershadleftbehindliningtheboothwindowsill.Justbecarefulthatthiskindofthingdoesntbecomeadistraction.

    Callingtheshowisperhapsthemostsatisfyingpartofstagemanagingforme.Ifindcallingasequenceofcomplexcuesandseeingthemexecutedwellisexhilarating.IlovetheideathatIamhelpingtomakemagicfortheaudience.ItakeprideinmakingtheperformerslookgoodandmakingtheDirectorandDesignersworkcometolife.

    OpeningNight&Performances

    OpeningNightisalwaysatimeofhighstressforeveryoneinvolvedwiththeproduction.Itisthenightthatthehouseispackedwithfriendsandfamily,aswellasreviewers.IftherehasnotbeenaPreview,thiswillbethefirsttimethecasthasperformedbeforeanaudience.

    IalwaystrytogetmyThankYoucardsdonebeforeOpeningNightandleavethemateachperformersdressingtableoreachcrewpersonsstation.ForthelongesttimeIgaveflowerstothecastonOpeningNight.Inthepastfewyears,Ihavestartedtogiveballoonsorcandlesinstead.Thedaythatarevieworpreviewappearsinthepaper,Iwillpostitonthecallboard,leaveaphotocopyateachpersonsstationandleaveastackofthemonthepianointherehearsalroom.

    ThisisoftenthehardesttimetorememberthatthereshouldbenoindicationoffavoritismontheStageManagerspart.AnygiftorthankyounotethatcomesfromtheSMshouldbedistributedtoeachmemberofthecastorcrew.Eachpersoninvolvedwiththeproductionshouldfeelimportantandspecialbecauseeachpersonispartoftheteamneededtomaketheproductionwork.Ifyouwouldliketodosomethingextraforaspecialfriendinvolvedwiththeshow,doitprivately.

  • Alwaysrememberthattheatrepeoplearehighlysuperstitious.Wishingsomeonegoodluckbeforeaperformanceisthoughttobringthemtheexactopposite.Actorsaretoldtobreakaleganddancersarewishedmerdeinstead.

    ThisisagoodtimefortheStageManagerstoremindeveryoneinvolvedwiththeproductionaboutsomeofthebasicrulesofbackstageetiquette.

    Backstageguestsmustbeescortedandannounced. Novisitorsarepermittedbackstageafterhalf-houriscalled. CompanymembersarenotpermittedinFront-of-Houseafterhalf-houriscalled. Respecttheprivacyandpropertyofothers. Nounnecessarytalkingbackstage. Nofoodordrinkbackstage/onheadset. Avoideating,drinkingorsmokingincostume.Ifyoucannotdoso,weararobe. Beawareofsightlines.Ifyoucanseetheaudience,theycanseeyou.(Peakingthroughthemaincurtain

    isalsonotallowed!) Companymembersshouldneverbeseenoffstageinmakeuporcostume.

    StartingwiththefirstPreview,theSMmustbeinconstantcommunicationwiththeFrontofHousestaff.TheFOHstaffareallofthepeoplewhoworkoutfrontoftheProscenium.Theyarethepeoplewhoraisemoneyforthetheatre,sellthetickets,seatthepatrons,markettheshowandkeeptheauditoriumclean.

    ThefirstthingyoushoulddoeachnightischeckinwiththeBoxOfficeManagerandinquireaboutthenumberofpatronsyouareexpecting.Knowifthereareanyothereventsgoingonnearyourtheatrethatcouldmaketrafficcongestedorparkingahassle.Thiswillallowyoutoprojectifthecurtainwillriseontime.

    Asthecountdowntocurtainprogresses,thenextstepItakeistocheckinwitheachofmycrewheadstomakesurethattheyaresetandtherearenoproblems.Atthispoint,Iwillaskforthecurtaintobebroughtinandthelightstogotopreset.Ifthereispreshowmusic,thesoundoperatorwillbeaskedtostartitnow.

    WhenIamsatisfiedthatthestageisset,IwilltelltheHouseManagerthathemayopenthehouse.IthenreturnbackstagetocallHalfhour,please.Houseisopen.(Notethatthewordpleaseispartofthecall!)Atthistime,thecompanywillusuallyassembleintherehearsalroomtowarmup.Iwillusuallystaywiththemuntiltheyarereadytobreakuptofocusanddotheirfinalpreparations.AtthispointIwillgivethemmylastcall,usually20to15minutes,andmeetmycrewatadesignatedspot.(Anotherimportantnote:SMsalwaysseemtoexaggerateabouttheactualtime.)

    Thecrewwilltouchbasequickly,coveringanynotesfromthepreviousshow.Withafewwordsofencouragement,theyareallaskedtoreporttotheirheadsets.MyASMorDMwillnowstartgivingthecastcallsasIgotomakemyfinalcheckwithFOH.UponreceivingagoaheadfromtheBoxOfficeManager,Iwilltakemyplaceintheboothanddoacrewrollcall.Onceallcrewmembersareaccountedfor,IwillasktheASMorDMifwehaveplaces.Ifalloftheactorsneededtobeginarepresent,theopeningsequenceofcueswillbeputonstandbyandIwillstarttheshow.

    OpeningNightbringstheStageManagerahugelistofnewpotentialheadaches.Thecastoftenchangesthepaceoftheshowbasedontheaudiencereaction.Somethingthatyouneverconsideredfunnycouldgetthebiggestlaughoftheevening.Yourfavoritebitintheshowmightnotevenearnachuckle.Thecrewmayalsohaveproblemshearingyourinstructionsovertheaudiencesreactions.Allofthesethingscouldaffectthetimingofmanyofyourcues.Bepreparedtoridethisnewwaveofenergywiththecompany.

    Sometimesopeningnightnervescanpreventpeoplefromthinkingalltheirtasksthrough.WhenISMdSinginintheRainIonlyhadonecrewpersonbackstagetocoordinatetheshifts.Theactualscenechangeswerebeing

  • executedbythecast.Onopeningnight,theactorwhowasassignedtoruntherainpipeturnedonthewaterwithoutcheckingthesafetyvalve.ItrainedduringtheGoodMorningsceneinsideDonLockwoodshousethatnight.Wegotthewaterturnedoffbeforetheyweretotallysoaked,butitwasahorribleanddangerousmistake.Ifatallpossible,avoidusingchorusmembersasyourdeckcrew,eveniftheyarecompetenttechnicians.Castmembershavetoomuchtoworryabouttobesaddledwithcrewresponsibilities.

    Ifyouencounterahugetechnicalproblemduringaperformance,thegoalofthecrewshouldbetokeeptheshowrunningifitispossible(andsafe)todoso.WhenIdeckmanagedRunForYourWife,thedimmerswentintoovertempandwelostallstagelightduringActII.Thecastad-libbedforasecondasIcalmlyaskedtheSMifhewouldlikemetobringuptheworklights.Afterafewsecondsofneresponse,Isaid,Imbringinguptheworklightsnowunlessyousayno,andIthrewalltheworklightbreakers.TheSMkepthisheadonstraightandcontinuedtocallthesoundcues.Wewereunabletogetthelightingsystembackup,sothecastfinishedtheperformanceinworklights.Theaudiencelaughedandclappedjustashardattheendoftheperformance.Thecastwasimpressedwithhowquicklythecrewsolvedtheproblem.

    Justremember,theshowdoesnothavetogoon.If,forsomereason,itisunsafetocontinue,itistheStageManagersresponsibilitytostoptheperformance.ThecastandcrewlooktotheSMteamandtrusttheirjudgementregardingeveryonessafety.Theywillmostlikelygoonwiththeshowifyoudonotmakethedecisiontostop.

    Alwaysremember,goodorbad,thatareviewisonlyonepersonsopinion.Ifaproductionreceivesanegativereview,thebestthingtheStageManagercandoistrytokeepthecompanysmoraleup.Whenaproductionreceivesanexceptionallygoodreview,Idotendtoengageinalittlebackpatting.

    Whenagoodreviewispublished,Iliketocallacrewmeetingbeforethenextperformance.Ifanypartofthereviewmentionsthetechnicalaspectoftheshow,Iwillusuallyreadorquoteittothecrew.Again,Iwillmakesurethateveryonereceivesaphotocopyofthereview.Thiscrewmeetingisbasicallyapeptalk,remindingthecrewthattheyarenotonlyimportant,butessentialtothesmoothandsuccessfulrunoftheshow.Iemphasizethatagoodreviewoftheproductionisimpossiblewithoutastrongperformancebythebackstagecrew.

    TheproductionofIntotheWoodsthatIstagemanagedatIndianapolisCivicTheatrereceivedafourstarreview.Icouldnthelppattingmycrewonthebackfortheirenormouseffortthatallowedustocapturethatrating.Thecriticactuallysaid,...noheavysceneryneedstobemovedonoroff.Everythingflowslikeariver.

    Thecrewgotahugelaughoutofthereviewerscomplimentatfirst.Thecarriageandhousesactuallyweighedaton.Railcrewmembershadtosprintforthedeckeverynighttohelpgetthecarriageoffstage.ThenIexplained,youredoingverythingsowellthatitlookseffortless.Shebasicallydidntevennoticethatthecrewexhistedonsuchahuge,technicallycomplicatedshow.Wemademagic.

    Sometimesacriticwillmakeanuneducatedcommentthatreallydoesdeserveagoodlaugh.IrememberaproductionofShakespearesTheTempestthatIdesignedmakeupforincollege.ThecriticmentionedsomethingakintotheaffectedBritishaccentusedbyacertainactor.ItjustsohappensthattheactorwasBritish.Ibelievesomeonedideventuallywritethenewspapertoinformthemoftheerror.

    TheOpeningNightperformanceisoftenfollowedbyareception,acastpartyoralatenighttriptothelocalnewspapertograbthereviewhotoffthepress.Havefunandenjoytheshowssuccess,butdontforgetthateveryonemustbewell-restedforanotherperformancethenextevening.OncetheOpeningNightbutterflieshaveflownawayandthecompanyknowstheshowisgoingtobeasuccess,thereisalwaysthedangerofSecondNightSlump.Thispossibilityisonlymultipliedifeveryoneisexhaustedfromalongnightofcelebrating.


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