with: Melissa A' Baker Amie S' Bajalieh

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Stage Management Workshop for plays and
musicals2007

• withMelissa A. BakerAmie S. Bajalieh

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What is a Stage Manager?
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What is a Stage Manager?

• The person who manages the production of a show
  through rehearsals and performances.
• He/She acts as the supervisor to cast and crew,
  as well as the mediator and liaison between cast,
  crew and production staff.
• Basically, the right hand person to the director.
  

SM Checklist
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What is a Stage Manager?

• You, as stage manager, have total responsibility
  for making the entire production run smoothly, on
  stage and backstage, in pre-rehearsal, rehearsal,
  performance, and post-performance phases.

Actor Guidelines 2
Actor Guidelines 1
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What is a Stage Manager?

• It is helpful to have been involved in some way,
  whether it is to have assisted the director or
  stage manager, worked crew backstage or performed
  onstage PRIOR to stage managing.

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What is a Stage Manager?

• Although the Stage Manager works closely with the
  Director, its good to keep in mind that unless
  otherwise asked to do so, or offering a fair
  suggestion, the Stage Manager is not the
  Assistant Director, Technician or Designer.
• These positions have their own descriptions and
  people assigned.

Meeting the Director
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What is a Stage Manager?

• However
• If a cue, direction or design are cause for
  concern regarding movement backstage, technical
  elements and what happens during the show, please
  address this to the appropriate designer or
  technician.

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Characteristics of a good Stage Manager?

• Good stage managers
• Assume responsibility.
• Keep their cool.
• Keep their mouths shut and their eyes and ears
  open.
• Think ahead.
• Are considerate. (Peacemakers)
• Keep their sense of humor.
• Are organized and efficient.
• Are punctual and dependable.

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Who does a Stage Manager Work With?
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(No Transcript)
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Production Staff

• Director Person who works closely with stage
  manager other staff members and cast. Concept,
  artistic direction and style come from this
  person.

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Production Staff

• Director
• Lighting Designer Person who works with the
  other staff members regarding the overall look
  and feel of the show. All technical elements
  regarding lighting go through this person.
• This is the person who provides the Light Cues
  to the stage manager.

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Production Staff

• Director
• Lighting Designer
• Sound Designer Person who controls and designs
  the audio elements of a production, working
  closely with director and musical director (if
  necessary).
• This is the person who provides the Sound Cues
  to the stage manager.

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Production Staff

• Director
• Lighting Designer
• Sound Designer
• Properties Designer Person who designs,
  coordinates and provides the prop elements of the
  show. Responsible for providing rehearsal and
  performance props.
• The stage manager provides this person with a
  revised prop list each night.

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Production Staff

• Director
• Lighting Designer
• Sound Designer
• Properties Designer
• Scenic Technician / Designer - Usually a group
  of people. These are the individuals who create
  and construct the set for a production and work
  closely on technical and artistic elements with
  the director and lighting designer.

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Production Staff

• Director
• Lighting Designer
• Sound Designer
• Properties Designer
• Scenic Technician / Designer
• Choreographer (musical) Person who teaches and
  creates the dance movement for a show. Works
  closely with the director.

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Production Staff

• Director
• Lighting Designer
• Sound Designer
• Properties Designer
• Scenic Technician / Designer
• Choreographer (musical)
• Music Director (musical) Person who also works
  closely with the cast and director on the sound
  of the songs and musical numbers of a production.

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Production Staff

• Director
• Lighting Designer
• Sound Designer
• Properties Designer
• Scenic Technician / Designer
• Choreographer (musical)
• Music Director (musical)
• The stage manager will have direct contact with
  each and every one of these staff members on a
  consistent basis.

Production Staff
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Assistant Stage Managers

• Assistants are there to assist in keeping the
  show organized and the workload distributed.
• Assistants are also future Production Stage
  Managers, so this is also training for them.
• As we proceed forward, keep in mind that the
  workload, assignments, tasks can be distributed
  to the assistant. Each show and management style
  differs.

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Assistant Stage Managers

• When selecting an ASM, it is best for the stage
  manager to pick someone they feel they can trust.
  
• It is the Stage Managers job to let the ASM know
  what is expected of him/her.
• It is the Stage Managers job to make sure that
  the ASM is not overworked.
• Never punt off work to the ASM just because you
  dont want to do it!

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Assistant Stage Managers

• Effective ways to use an Assistant (varies
  depending on production and management style)
• -Assist with noting Blocking
• -Help maintain props during rehearsal
• -Help keep prompt book when the actors are off
  book

Example of SM/ASM Duties
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Assistant Stage Managers

• Be sure to keep your assistant in the loop about
  all meetings, emails, and technical elements of
  the show.
• An Assistant should be as comfortable and
  knowledgeable with the staff and the process as
  the Stage Manager is.

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What Does a Stage Manager Do?
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Starter Tools

• Stage Manager Kit (examples of kit items)

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Starter Tools

• Stage Manager Kit (examples of kit items)
• Tape Measure

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Starter Tools

• Stage Manager Kit (examples of kit items)
• Tape Measure
• Spike Tape, Electrical Tape, Gaff Tape

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Starter Tools

• Stage Manager Kit (examples of kit items)
• Tape Measure
• Spike Tape, Electrical Tape, Gaff Tape
• Pencils/Pens

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Starter Tools

• Stage Manager Kit (examples of kit items)
• Tape Measure
• Spike Tape, Electrical Tape, Gaff Tape
• Pencils/Pens
• First Aid kit

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Starter Tools

• Stage Manager Kit (examples of kit items)
• Tape Measure
• Spike Tape, Electrical Tape, Gaff Tape
• Pencils/Pens
• First Aid kit
• Flashlights

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Starter Tools

• Stage Manager Kit (examples of kit items)
• Tape Measure
• Spike Tape, Electrical Tape, Gaff Tape
• Pencils/Pens
• First Aid kit
• Flashlights
• Small handheld tools

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Starter Tools

• Stage Manager Kit (examples of kit items)
• Tape Measure
• Spike Tape, Electrical Tape, Gaff Tape
• Pencils/Pens
• First Aid kit
• Flashlights
• Small handheld tools
• Ruler

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Starter Tools

• Stage Manager Kit (examples of kit items)
• Tape Measure
• Spike Tape, Electrical Tape, Gaff Tape
• Pencils/Pens
• First Aid kit
• Flashlights
• Small handheld tools
• Ruler
• Stopwatch to keep track of call times,
  intermission and the show run time.

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Starter Tools

• Stage Manager Kit (examples of kit items)
• Tape Measure
• Spike Tape, Electrical Tape, Gaff Tape
• Pencils/Pens
• First Aid kit
• Flashlights
• Small handheld tools
• Ruler
• Stopwatch to keep track of call times,
  intermission and the show run time.
• Container such as a tackle box to hold all.

Example of SM Kit Checklist
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Starter Tools

• Checklist of what is necessary
• Contact Sheets for cast, production staff and
  emergency numbers 1, 2, 3
• Schedule of rehearsals, performances and
  conflicts
• Script
• Cell Phone (if you have one, or a means to
  contact you)
• Laptop (if you have one)

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After Auditions

• Once the show is cast, and the performers have
  been notified, send your new cast (and production
  staff) an introductory email and/ or information
  packet.
• This might include
• A letter introducing yourself - 1, 2A Contact
  Sheet of cast and staffRehearsal/performance
  schedule Rehearsal locationHow to obtain their
  scripts

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Communicate, Communicate, Communicate!

• Always be thorough in emails, calls, and during
  rehearsals, not only to your production staff but
  to your cast and crew as well. and yes, you will
  need to repeat yourself once in a while.

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Communicate, Communicate, Communicate!

• Examples of when SMs need to communicate
• Schedule Changes / Attendance Changes
• Information regarding reserving tickets, show
  receptions, etc.
• Contact Sheet revisions
• How to Order photos from the show, show shirts
  (if applicable to the theater), tickets, etc.

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The Rehearsal Process
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Rehearsals

• To Prepare
• Always have stage manager kit, script, all
  aforementioned tools readily available.
• The Stage Manager is always the first person to
  get to the rehearsal (performance) hall and the
  last person to leave.

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Rehearsals

• During rehearsals, Stage Managers are responsible
  for
• Maintaining Cast/Crew attendance
• Spiking the rehearsal floor
• Writing down blocking notes in script
• Update and maintain Properties List
• Create distribute Rehearsal Report
• Keep rehearsal space maintained and clean

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Attendance Sheet

• Attendance sheets need to be created for staff,
  cast and crew.
• Information includes
• Name (and their position and/or character name)
• Email address
• Phone (cell, work, home)
• Home address is optional

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Attendance Issues.?

• What to do when an Actor/Crew Member does not
  show up?
• Communicate the specific call times to
  everyone. If they are running late, they are to
  call the stage manager. If they do not call, the
  SM or ASM must call using the number on their
  contact sheet. If this is a persistent problem,
  addressing the cast or crew member individually
  will be necessary.

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Example of Rehearsal Schedule

• Rehearsal schedules are drafted with, if not
  entirely by, the Director.
• They should be thorough, consistent and clear.
• Include
• Date of each rehearsal
• Start /stop times
• Scenes that will be rehearsed on a particular day
• Who is called to that rehearsal
• If there is a change in schedule, communicate
  that immediately to your cast and the staff, via
  email is the best way.

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Example of Rehearsal Schedule
See entire document
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Spiking the Floor

• Spiking a floor is simply to mark the placement
  of set pieces on a rehearsal/stage floor. Usually
  done with colored spike tape

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Spiking the Floor Simple How-To

• ACTIVITY
• Technique using CENTERLINE and PLASTER LINE
• Centerline and plaster line are imaginary lines
  that mark the center of the stage. These are the
  lines that we use to plot points
• of the corners of set pieces which
• would then be connected.

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Spiking the Floor Simple How-To

• On the ground plan, measure the distance from the
  centerline and plaster line to each corner
• In the rehearsal room, define the centerline and
  plaster line
• Locate each of the corners on the set based on
  the measurements from the ground plan
• Connect the dots!

Spiking the Floor Document
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Helpful Hints to keep a Blocking Script

• Whether it is the stage manager or the assistant
  noting blocking, it is advisable to use a
  separate script to do so.

Blocking Notation Example
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Helpful Hints to keep a Blocking Script

• Each person has his/her own way to note blocking.
  
• Keep it consistent and legible, and always write
  blocking in PENCIL. Nothing is ever set in
  stone.
• Not even when the show moves to the stage.

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Helpful Hints to keep a Blocking Script

• DS Downstage
• US Upstage
• SR Stage Right
• CS Center stage
• SL Stage Left
• DSR Down Stage right
• DSL Down Stage left
• UR Up right
• UL Up left
• UC Up centre
• DC Down centre
• C/L Centre line
• En Enter
• Ex - Exit
• X Cross

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Helpful Hints to keep a Blocking Script

• S Susan
• Mrs. B Mrs. Beaver
• Mr. B Mr. Beaver

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Props

• List of props should be drafted by the Director
  and Stage Manager and given to the Properties
  Designer.
• This is a list that should be maintained during
  each rehearsal.

Example with color coding
Example, no color
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Rehearsal Reports

• What is a rehearsal report?
• A report that details what took place at
  rehearsals and what is needed with props,
  costumes, sets, publicity, etc.
• Who gets a copy of this?
• This is distributed to the production staff (see
  Production Staff Contact List), always sending a
  copy to yourself.

Example Rehearsal Report 1
Example Rehearsal Report 2
Blank Example
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After Rehearsals.

• After each rehearsal, send the Production Staff
  an email including 2 items
• Revised Properties List (if changes have been
  made)
• Rehearsal Report

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Production Meetings

• During the course of rehearsals, production
  meetings with the production staff will need to
  be scheduled on a regular basis.

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Production Meetings

• This is a time that all designers, directors and
  technicians, stage managers agree to meet. (Cast
  and Crew do not need to be present).
• Stage Manager is responsible for reminding those
  involved of the production meetings and keeping
  notes in a Production Report (similar to
  Rehearsal Report) to be distributed to the Staff
  following the meeting.

Example Minutes
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Preparing for Tech Rehearsals
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Shift Plots

• What is a Shift Plot?For the running crew, this
  is a series of written duties and tasks to be
  performed during the performance.

Example Shift Plot for Musical
Example Shift Plot For Play
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How to Create a Shift Plot

• Each time there is a scene transition where sets
  move, props are handed off, or quick costume
  changes need to happen, that is the job of a
  stagehand.

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How to Create a Shift Plot

• During rehearsal, follow along in the script,
  making notes as to when and where these duties
  happen.
• The more rehearsal set pieces and props there are
  available used during the rehearsal process,
  the easier Shift Plot creating is.

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How to Create a Shift Plot

• Note especially
• Set Piece Movement Ask the technical
  director/scenic designer an estimate of how many
  crew members might be needed, to make sure you
  plan accordingly.
• Costume Changes during the Show Ask the
  Costumer/Designer how often this happens and what
  the costumes are for each scene.

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Coordinating a Running Crew (Stage Crew)

• Now that we have a staff, cast and assistant for
  the show, it is the responsibility of the stage
  manager to coordinate a backstage crew!

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Coordinating a Running Crew (Stage Crew)

• Ways to seek out backstage running crew
• Ask the technical director or scenic designer if
  they know anyone willing to work backstage.
• Talk to theater students, friends and those who
  have experience (or willing to learn and work)

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Coordinating a Running Crew

• (Basic) Crew Consists of
• Assistant Stage Manager in charge of deck crew
  members during performance show-time

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Coordinating a Running Crew

• (Basic) Crew Consists of
• Assistant Stage Manager
• Light Board Operator Crew member in charge of
  running light board, with cues called by SM.

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Coordinating a Running Crew

• (Basic) Crew Consists of
• Assistant Stage Manager
• Light Board Operator
• Sound Board Operator Crew member in charge of
  running sound board/sound cues. Sometimes cues
  are called by SM. Sometimes they are not. Depends
  on the production.

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Coordinating a Running Crew

• (Basic) Crew Consists of
• Assistant Stage Manager
• Light Board Operator
• Sound Board Operator
• Backstage Crew - Multiple members responsible
  for moving set pieces, and any other tasks that
  need to happen on deck/backstage.

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Coordinating a Running Crew

• (Basic) Crew Consists of
• Assistant Stage Manager
• Light Board Operator
• Sound Board Operator
• Backstage Crew
• Properties Master/Mistress Crew member
  responsible for handling props, keeping track of
  them and noting when they need repair,
  replacement, etc. Not the same person as
  Properties Designer

Props Captain Example Duties
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Coordinating a Running Crew

• (Basic) Crew Consists of
• Assistant Stage Manager
• Light Board Operator
• Sound Board Operator
• Backstage Crew
• Properties Master/Mistress
• Dressers - Could be members of backstage crew.
  Responsible for assisting actors who need to be
  quickly changed backstage between scenes.

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Coordinating a Running Crew

• (Basic) Crew Consists of
• Assistant Stage Manager
• Light Board Operator
• Sound Board Operator
• Backstage Crew
• Properties Master/Mistress
• Dressers
• This is just a basic list and if more crew
  positions are needed, they will be assigned by
  the Stage Manager.

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Coordinating a Running Crew

• Once these positions are filled, keep the crew
  informed with contact sheets, schedule of
  rehearsal run throughs, tech week and performance
  schedule.

Supervising
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Preparing the Running Crew

• Remind the crew
• Wear all black backstage
• Have a small flashlight
• Have Shift Plot with them also at all times
• If problems arise, turn to ASM or deck captain,
  as SM wont be readily available, if calling cues
  from a booth or stand.

Stage Crew Guidelines 2
Stage Crew Guidelines 1
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Creating a CALL BOARD

• Call board is the central location for posting
  attendance, announcements, and other production
  information.
• A typical call board will have
• A sign in sheet for the actors and crew (or a
  Peg Style style sign in board.)
• Performance Schedule (including CALL TIMES)

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Example of Tech Week Schedule(varies depending
on theater department)
Click Here
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Preparing for Tech Week (aka Hell Week)

• Prior to tech week, communicate with technicians
  and designers about when the crew and cast is
  able to rehearse onstage.

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Preparing for Tech Week (aka Hell Week)

• Send out a separate email detailing and itemizing
  tech week to all cast, crew and staff.
• (Break the schedule down! Its the best way to
  keep organized, focused and on schedule!)

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Mentally Preparing for Tech Week

• As a stage manager, tech week is very exciting!
  The stage manager is in charge of tech week, and
  from that point, also the performances.
• Essentially, though the director may still be
  present, this is a transitional time where the
  stage manager takes the lead for the rest of the
  production run.

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Mentally Preparing for Tech Week

• Be calm.
• Be focused.
• Be firm.
• Be organized.
• Keep on task.
• Constantly communicate with director, designers,
  technicians, cast and crew.
• Delegate. No one can do everything themselves all
  the time. If you have assistants, use them.

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Mentally Preparing for Tech Week

• Changes will happen.
• Schedule may not always go as planned.
• Remind the cast crew to be patient and focused.
  
• The Stage Manager must lead by example.

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Mentally Preparing for Tech Week

• Above all
• Keep your cool
• Take heart that every stage manager goes through
  tech week, and tech week can be hectic but
  everything always works out!
• ?

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Preparing for Tech Week

• Props / Set PiecesProps Set Pieces from
  rehearsal need to be brought from rehearsal hall
  to designated tables and locations backstage.
  Tables need to be labeled for each prop.
• This should happen PRIOR to Dry Tech with the
  crew.

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Prop Table

• To SET UP a Prop Table
• Tables (Stage Right and Stage Left, if necessary)
• Masking or white Gaff tape (for labeling)
• Permanent Marker
• ..and of course
• The Props!

Props Table Example 2
Props Table Example 1
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Paper Tech, Dry Tech, Wet Tech

• All essentials components of Tech Week include
• Paper Tech,
• Dry Tech,
• and a Wet Tech.

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Paper Tech

• A meeting with the crew prior to Dry Tech to
  review the Crew Cue Sheet (aka. Shift plot)
  (diagram or model of the Stage/Set is optional).

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Dry Tech

• Stage Managers and crew meet onstage to rehearse
  assignments on Crew Cue Sheet (shift plot). Crew
  learns how each set piece moves and how each
  scene transition will take place.

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Wet Tech

• Technical rehearsal incorporating performers and
  combining elements of sound, lights, and scene
  transitions rehearsed during Dry Tech. Also
  functions as a Cue to Cue (which is a rehearsal
  that goes through the entire show, but only runs
  the parts where there are lighting changes, scene
  transitions and sound/special effects.)

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Writing Cues in Script

• THIS SHOULD HAPPEN PRIOR TO WET TECH
• When noting any type of cues in the script,
  remember to write it as though ANYONE could call
  the cues for the show, in case anything should
  happen where the Stage Manager cannot call the
  show.
• In short, be detailed, organized and clear when
  writing cues. This helps prevent missed cues and
  messing up, as well.

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Writing Cues in Script Helpful Tips

• Use tiny post it notes to write the Cue Number
  as well as a brief description of WHEN the cue is
  set to GO.

Use different colored tabs or post-it notes to
indicate different cues (lighting, sound, etc)
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Writing Cues in Script

• Lights Meet with lighting designer with your
  script to write in where each lighting cue number
  goes.
• This will include pre show light cues,
  intermission and post show light cues.

Light Cue Sheet
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Writing Cues in Script

• Sound Meet with sound designer with your script
  to write in where each sound cue goes, including
  preshow announcements, sound effects and any
  track music.
• In the case of a musical, most sound cues do not
  need to be called.

Mic Cue Sheet
Sound Cue Sheet
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Calling Cues for a Show

• Calling cues with accuracy comes with practice.
• Always enunciate and be clear when you speak.
• Successful cue calling
• 2 words a Stage Manager needs to
  rememberStandby and Go

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Calling Cues for a Show

• Give the board operators a STANDBY CALL. This
  should happen at least a half a page prior to the
  cue in the script.
• (Ex Standby Light Cue 23)
• Say this early enough for the board operators to
  respond to you with Standing by.

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Calling Cues for a Show

• After the Standby Call, give the board operators
  the GO CALL.
• Start giving the call a few seconds BEFORE the
  cue, that way when it is time to say word GO,
  the cue is executed at the right spot.
• (Ex Light Cue 23 GO. )

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Calling Cues for a Show

• Communicate with your board operators.
• Be consistent in how you call a show and be clear
  about when the cues should be executed.
• Make sure, if possible, that all board
  operators have a copy of the script with the
  cues. This may be helpful for him or her to
  follow along as well.

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Calling Cues for a Show

• Helpful Tip
• It is a good idea to train the board operators to
  only execute the cue when you say the word GO
  to prevent confusion and mistaken cues.

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Calling Cues for a Show

• Helpful Tip
• Keep talking limited to no talking while on the
  headset com. with the board operators.
• This will prevent missed cues and distraction!

TALKING
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Pre-show Preparation - Time Line

• House opens at 30 minutes to show, check with
  House Manager/Box Office.
• Call at both 15 10 minutes to actors and
  crew
• Call at 5 minutes inform House Manager also.
• Call Places call at 3 minutes then go to the
  booth (or stage manager station)
• House manager will give a Go to begin (or an
  estimated time of when to begin).

Preshow check list
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Pre-show Preparation

• Never start a show without communicating with the
  House Manager or Box Office to make sure the
  audience is seated the show can begin without
  interruption. (Same goes for Intermission!)

Intermission check list
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Post-Show

• The Stage Manager is the last to leave the
  theater, in many cases. Communicate with the
  House Manager regarding Post Show.
• At the end of the night
• Turn off all lights (on stage, in the auditorium
  and in dressing rooms)
• Make sure items such as curling irons are
  unplugged from the wall in dressing room.
• Lock up necessary dressing rooms and doors, if
  applicable.
• Make sure everyone is out of theater.

Post-show check list
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Post-Show

• After each performance, send out a PERFORMANCE
  REPORT to all staff member, which is the same as
  a rehearsal report, but for nightly shows.
• Report how the show went, what repairs need to be
  made, and any other issues.

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Lighting Backstage

• Be sure backstage is adequately lit and paths are
  clear of cords or objects.
• Blue lighting is ideal for backstage, in corners
  that are masked from the audience.
• Having the floor lit with a string of lights or a
  light rope is also a good idea.

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Glow Tape!

• Glow Tape is a durable glow-in-the-dark spike
  tape. A good way to charge the glow, if not by
  stage lighting, is by the use of a flash camera
  at the top of the show.

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Glow Tape!

• If there are any sort of platforms, steps, walls
  that are not adequately lit, they must have
  enough glow tape on them for cast and crew to see
  it.

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Safety How to Prevent Accidents

• HOW TO PREVENT ACCIDENTS
• Proper backstage lighting blue lighting works
• Make sure people are out of the way of scene
  changes and entrances/exits.
• Glow tape platform edges and steps
• Knowing the paths around curtains, set pieces,
  and doors backstage.
• Tape down loose cords with Gaff tape.

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Safety How to Handle Accidents

Safety On-Stage Click Here
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Safety How to Handle Accidents

• If a performer or crew member get injured during
  a rehearsal or performance, provide necessary
  first aid.
• If the emergency calls for more dial 0 on a
  campus phone or dial 949-5300
• on an off-campus phone for
• campus safety, who will then
• contact an emergency crew.

Emergency Procedures
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Closing Night

• Prior to Closing Performance, prepare and
  communicate the requirements of STRIKE to your
  cast and crew.
• Prior to STRIKE, ask to the technical directors
  and designers what needs to be done for the set
  pieces, props and lights.

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Closing Night

• Give assignments (if applicable) to the cast and
  crew as to what duties need to be completed on
  Closing Night.

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Questions?
Click Here for Further Resources