The Stage Management

THE STAGE MANAGEMENT

HANDBOOK

The High School for the Performing and Visual Arts

Drama Department

TABLE OF CONTENTS

Introduction 4

PRE-PRODUCTION

Getting Acquainted with the Director 5

Auditions 5

Stage Manager Responsibilities 6

Contact Sheet 8

Production Board 9

First Read Thru/Cast Meeting 9

PRODUCTION/REHEARSAL PROCESS

Production Meetings 10

Reminders 11

Production Calendar 11

Specifics to Consider: Musicals 13

Rehearsal Schedules 13

Taping the Floor 14

Sound Equipment 14

Using Prop Weapons 15

Warm-ups 15

Breaks 15

Prompt Book 16

Blocking 17

Rehearsal Reports 18

Tracking: Props/Costume Changes/Sound Cues/Light Cues 19

After Rehearsal 20

Safety 20

Assistant Stage Managers 21

Program Information 22

Complimentary Tickets 22

Communicating with the Technical Director & Designers 23

Running Crew: Information 23

Running Crew: Run-thru 24

Running Crew: Tech Week 24

TECH WEEK

Tech Week Schedule 24

Sign-In Sheets 25

Collecting Valuables 26

Dressing Room Etiquette 26

Tech Week Procedure:Tech Week 27

Tech Week Procedure: Cue-to-Cue 29

Tech Week Procedure: Run Through 29

Tech Week Procedure: First Dress/Tech Rehearsal 30

Writing Cues in the Prompt Book 31

Public Relations/Publicity Photos 32

PERFORMANCES

Visitor Policy 32

Departmental Traditions 33

Calling the Show 33

POST-PRODUCTION

Strike 33

CONCLUSION 34

Handling Artistic Temperaments 34

Prompting and Line Notes 35

The 10 Golden Rules of Stage Management 37

GLOSSARY 38

FORMS/HANDOUTS

INTRODUCTION

It is not possible to teach a Stage Manager how to deal with every kind of situation. No one can teach another (or write in a handbook about) how to have the composure, understanding, patience and flexibility that a Stage Manager needs. These are qualities that are either innate in a person or are acquired through first hand experience. As a Stage Manager I have experienced a great deal. I have made mistakes, I have asked a lot of questions and I have learned by watching and mostly, by “doing.”

The role of a Stage Manager is a tough one to play. Despite the unending amount of work a Stage Manager does, it is not an overly appreciated position. Yet, it is a position that teaches you to appreciate others: those that work with you and those that work for you. A Stage Manager will learn early on that the more thanks and appreciation he/she shows to their cast and crew, the smoother the entire production process will flow. I felt it was necessary to have some sort of instructional guide to help prepare Stage Managers who were working in this educational environment.

Although this department works in very close alignment with professional standards, there are still some things that a Stage Manager at The High School for the Performing and Visual Arts needs to do either differently or in addition, because of the environment. My intent was to put together an informational handbook, that could be used as a reference by Stage Managers, (and also by Directors, Designers, crew members, etc.) who need to know specifics regarding the responsibilities of the job as it is set-up here.

I sincerely hope that this handbook will be able to answer questions and clear up any confusion one might have as a Stage Manager in this department. I am certain that it will not answer all of them. My biggest piece of advice: Do not be afraid of making mistakes or asking questions. The only way you’ll find all of the answers you need, is through experience.

Good luck!

PRE-PRODUCTION

GETTING AQUAINTED WITH THE DIRECTOR

Since the Stage Manager will be working closely with the Director throughout the entire production process, it is important to establish a good working relationship from the start. All Directors work differently, and have certain expectations for their rehearsal, tech and performance processes.

The Stage Manager should be aware of the Director’s schedule – such as class schedule, when they will be in the office, if there are certain days they will not be available, etc. The Director may also prefer to communicate a certain way. For example, some directors do not mind if the Stage Manager calls them at their home - others prefer messages left on their voicemails, or memos/reminders in their box (located in the Drama office.)

The Stage Manager should also find out what rehearsal space the director prefers: will

there be dancing? will there be singing? will there be a need to store furniture/props? All

of these things will affect where the rehearsals should ideally take place. In addition, what spaces are available? The Black Box, Rehearsal Hall, Denney Theatre, Classroom, the outdoor classroom, as well as the Commons, are all viable choices.

The Director will have a certain level of trust in his/her Stage Manager. He/she may expect the Stage Manager to address technical notes that are given during rehearsals with the Production Staff via Rehearsal Reports. The Director will rely on an organized and efficient Stage Manager, to ensure that all of the different aspects of the show will come together by opening night. A Stage Manager must be able to “read the Director’s mind” in the sense that they should be able to anticipate what is needed. Having confidence in the Stage Manager, allows the Director to focus on his/her own work.

AUDITIONS

If it is known prior to the audition process who will be Stage Managing for the production, the Stage Manager may be called upon to help them out before, during and after auditions. The Stage Manager should check with the Department Faculty as to how and where he/she has planned to set-up the auditions. The Stage Manager should make sure that the appropriate space has been properly prepared for the audition process. In addition, the Stage Manager should be on hand to help keep the audition process flowing as smoothly as possible. Also, keep in mind that confidential information may be shared with the Stage Manager that he/she must be mature enough not to discuss with peers.

STAGE MANAGER RESPONSIBILITIES



GENERAL DUTIES:

To attend and run the Production Meetings for the show and write up the minutes following each meeting. Also, to notify all production team members of dates and times of meetings.

To address any problems within the production process of each show, and to communicate with the appropriate people in an effort to resolve them.

To attend ALL Production Meetings to ensure they are run as smoothly and efficiently as possible.

To give a DAILY written report, summarizing the progress and complications of each

departmental production, to the Production Team.

To meet with the Director on a daily basis in order to review the report and to

discuss any problems in detail.

· Maintain general discipline. Be friendly, firm and specific.

· Keep rehearsals on schedule and call adequate breaks.

· Insist on safety first.

· Coordinate the technical aspects of the production and coordinate the crew heads.

· Communicate to production staff through daily rehearsal reports.

· Know the whereabouts of all actors and members of your crew at all times.

· Create and post the Production Calendar for the cast and crew.

· Assess and collect fines (points deductions) for props and costumes left out and line problems.

BEFORE REHEARSALS BEGIN:

· Run auditions. Maintain strict confidentiality.

· Make and pass out contact sheets.

· Prepare a prompt book.

· Number and distribute scripts and scores to the actors and designers.

· Tape out the ground plan in the rehearsal space.

DURING REHEARSALS:

· Oversee set up and breakdown of the space.

· Post a daily rehearsal schedule 24 hours before the next call.

· Maintain and update Production Calendar.

· Take role. Keep accurate records of actors and production crew attendance and tardies. Only the director can excuse absences!

· Start rehearsals on time with a warm-up.

· Make sure actors are in rehearsal costumes.

· Write blocking into the prompt book.

· Provide rehearsal props and label them accurately.

· Oversee inventory of props before and after rehearsal.

· Record technical choices onto the rehearsal report.

· Play a scratch tape of sound and call lighting cues as soon as you know them.

· Call and lead weekly production meetings.

· Oversee changes of sets and props.

· Make sure rehearsal spaces are cleaned.

· Make sure scene changes happen without instruction.

· Keep the rehearsal and Director on schedule.

· Coordinate costume fittings during rehearsals.

BEFORE AND DURING TECH WEEK:

· MOST IMPORTANT: once the technical rehearsal period starts, the Stage manager’s production book must not be taken home.

· Mark your prompt book with all cues. (“Go” and “Stand-by” or “Warning”). Require responses to “Stand-by’s”.

· Oversee substitution of rehearsal props with performance props ASAP.

· Hold a paper tech.

· Record timings of scenes and acts on the rehearsal reports.

· Oversee sweeping/mopping of the stage before each rehearsal.

· Be sure all valuables and potentially dangerous items are locked up.

· Dismiss only after all spaces are clean.

· Check out with faculty supervisor.

DURING PERFORMANCES:

· Agree on a schedule for set-up, warm-ups, circle.

· Have the stage swept and mopped before the house opens.

· Call actors to check their props before house opens.

· Forty-five minutes before curtain, oversee testing of all sound, lighting and other equipment. (An hour before for musicals).

· Call an "hour to places."

· Call "house is open" at 30 minutes before curtain.

· Make other “calls” at 15 minutes to places, 5 minutes to places, and “places” (at two minutes to curtain).

· Set up a plan with the House Manager for opening house, rehearsing curtain speech with lighting and sound, and closing the doors.

· Oversee your ASM in maintaining quiet backstage and flow of scene shifts.

· Read and record director’s notes and be sure actors and crews are picking up their notes.

· Remain patient, calm, cool, and collected.

· Never leave your post while the show is running. You or your ASM must be on headphones from “house is open” until the last cue is called at the end of the show.

AFTER PERFORMANCES:

· Oversee the securing of all props, costumes, equipment and clean-up.

· Have actors, production crew and crew heads check out through you.

· You check out with the faculty supervisor.

CONTACT SHEET

The Contact Sheet is possibly the most important source of information that the Stage

Manager puts together. The Contact Sheet consists of the names, email addresses and phone numbers of the Director, Designers, Cast, Production Staff, Running Crew, and anyone else working on the show. The Stage Manager should attempt to complete the Contact Sheet before the first read-thru, so that the cast and Production Staff can approve it or make necessary changes. It is imperative that the Stage Manager has accurate spellings of names and correct phone numbers. He/She should not assume that a number they may have had for someone on a previous show is the same.

The Stage Manager should consult the Director to find out who will be on

the Production Staff of the show. The following is a list of possible positions to be filled

on the Production Staff:

· Director

· Assistant Director

· Stage Manager

· Assistant Stage Manager

· Technical Director

· Assistant Technical Director

· Set Designer

· Assistant Set Designer

· Costume Designer

· Assistant Costume Designer

· Sound Designer

· Lighting Designer

· Assistant Lighting Designer

· Master Electrician

· Props Master

· Musical Director

· Choreographer

· Fight Choreographer

· Sound Engineer / Sound Board operator

· Light Board operator

· Deck/running crew

· Costume/Dressing crew

Once the Stage Manager finds out what positions will be filled by whom, he /she should

gather the contact information of everyone on the Production Staff and in the cast. This may be done at Production Meetings, as well as the first read through while the entire cast is present.

The contact sheet should include names, character names, email addresses, cell phone numbers, and home phone numbers of everyone in the cast, and the names, positions, email addresses, cell phone numbers, home telephone numbers and theatre office telephone number with extensions of the Theatre Department Faculty.

PRODUCTION BOARD

Another task to be completed very early in the production process is the putting up of the Production Board. This board is located outside the Rehearsal Hall, and is the information center for the production. All important information regarding the show, MUST be posted on this board so that all cast and crew members can readily find the needed information. Among items that can be found here is the Production Calendar, rehearsal schedules, notes to cast and crew, and anything else that needs to be relayed to the people involved in the production. This board must be updated and current at ALL times!

FIRST READ THRU / CAST MEETING

Depending upon where the production falls in the semester, it may be that the first read

thru is the day after callbacks finish, or it may not be needed for a few weeks. However, as soon as the Stage Manager and the Director decide upon a date and time, the Stage Manager will need to find space. Once this is done, the Stage Manager should post the date, time, and location of the first read thru (or cast meeting) on the Production Board.

FIRST READ THRU

The Production Staff should be invited to the first read thru, as it is probably the first time

the Director will talk to the entire cast regarding his/her concept for the show and the

designers may want to show a model, or renderings of the set, lights, costumes, etc., if they have any of these items to present. The Stage Manager should check with the Director to see how he/she would like the space to be set-up. Most prefer a circle of chairs or chairs around tables.

Normally the Director will begin the read thru by talking to the cast about his/her process

and concept, and by introducing the Production Staff. Then each production staff member

may want to show or say something for themselves. This may also be an opportunity for

the Stage Manager to speak to the cast and receive some information from them. Here is a list of things the Stage Manager should do:

Present a copy of the preliminary Contact Sheet, with as much information as possible,

and ask the cast to fill in missing numbers, spelling errors, etc.

Ask each actor for their: Name (correct spelling), phone number(s), address,

class/work schedule, and Bio information.

Explain the HSPVA Drama policy regarding coming late to rehearsals which is: LOSS OF PROFESSIONALISM POINTS WHICH DIRECTLY AFFECT PRODUCTION GRADES.

Remind the actors to check the callboard and their email for schedule

updates/changes. Remind the actors that emails from the Stage Manager regarding

rehearsals, etc. are a courtesy, and that they are REQUIRED to check the callboard