Stage Management Handbook
This section is still a Work In Progress
DESCRIPTION: A stage manager is the communication hub on a production, connecting the cast, crew, artistic and design teams. The stage manager runs auditions, rehearsals, and performances, addresses actor concerns in rehearsal, collaborates with the director, and updates designers on production needs that arise in the rehearsal process. Stage managers are organized and dependable information seekers who work calmly in chaotic situations with many competing demands. The stage manager is typically the first person to arrive at rehearsals and performances and the last person to leave.
Working with a Director
One of the most rewarding and sometimes trickiest parts of stage management is the relationship you build with your director. The director is solely responsible for giving artistic shape to the production. It is your job to make sure that the director’s concept is fully realized. You facilitate their vision. It is good to think of this relationship as a partnership; you will need to trust each other and rely on each other in order to produce a unified production. Being honest and clarifying expectations from the beginning will make your partnership fun and rewarding. Make sure that you communicate with the director openly and often. You both need to be on the same page.
First Things First: Before Auditions
As a stage manager you will have duties even before auditions begin. Once you are assigned to a show you should try to get as much accomplished prior to casting and the first rehearsal as possible. Pre-rehearsal time will be the last respite you have for weeks: you will thank yourself profusely for everything that you get done now. The following is a list of things that you are highly recommended to have completed before auditions are complete:
READ THE STAGE MANAGEMENT HANDBOOK and THE THEATRE DEPARTMENT HANDBOOK
Read the handbooks to familiarize yourself with the SM role and the UP Theatre Department guidelines.
MEET WITH YOUR FACULTY MENTOR
Introduce yourself and ask for any clarification regarding your assignment.
MEET WITH THE DIRECTOR
Meet with the director to discuss responsibilities and expectations for the rehearsal process, including but not limited to rehearsal schedule; calling of breaks; off-book deadlines; how to deal with cast absences; important rehearsal costumes and props you should help coordinate. In short, establish your working relationship with the director and set a strong foundation for a successful production.
PREPARE FOR AUDITIONS
Gather Sides from the director
Obtain stage management kit, inventory contents and replenish supplies
whiteboard, and whiteboard markers.
Print Audition Forms for Actors (An Audition Form is attached at the end of this document)
Make Excel Spreadsheet for Audition Info, see example
Print Numbers for Actors to wear
Sharpen pencils, lots of them.
Auditions
Auditions are a stressful event for actors and directors. As the stage manage, create a welcoming environment and provide tools for the actors to have a successful audition.
AUDITION CHECKLIST FOR ALL AUDITION DAYS:
Prep Space
Sweep the audition space
Provide a few chairs or theatre boxes for actors to use during their audition
Provide a table for the director in the audition space, set up your own table in the lobby, set up a table for actor information.
Put sides on table for auditioners
Ask actors if they have a monologue prepared; if not, give them a side
Post callback conflict sheet w/ a pen
Have Camera, whiteboard, markers, and pens
Assign someone to write actor's name and number on whiteboard
Assign someone to take head shots of actors with a white board
Put Audition Forms and pens out for actors
Have laptop to fill out Excel Sheet for Audition Info; if needed, assign someone else to fill out Excel Sheet
Give actors a number and safety pin
After you have everyone's audition sheets go to the library to make copies for all directors
(a professor will give you their ID card)
Collect actors’ numbers and safety pins when they are done
Callbacks: The director will give you a list of actors they would like to hear together and the sides for callbacks.
Coordinate callback groupings using known actor conflicts and director requests
Create a plan but be prepared for changes to occur
Print callback sides
Pre-Production (after auditions / before rehearsals begin)
CREATE AND DISTRIBUTE A CONTACT SHEET
Include the position/role/assignment, name, telephone #, email address of the entire company and design team. Include University emergency numbers. Send the Contact Sheet to the entire company, designers, costume shop, scene shop, PFA office, and box office.
CREATE A PROMPT BOOK
The prompt book is the Stage Manager bible – it contains your script and all important documents related to your show. The prompt book is typically kept in a large 3-ring binder. A well-organized prompt book makes for a smooth rehearsal, tech, and performance. The following is a list of things which need to be included in your book, either in a physical paper or digital format. Order them in a way that makes them accessible and easy for you to understand and quickly reference. Using paper or durable tabs in your prompt book is one method to organize and quickly reference the items in it.
Tentative Rehearsal Schedule: Often the director will create the rehearsal schedule and give it to you, and occasionally you may assist the director in the creation of this document. Regardless, you should always have a copy on hand, and you are responsible for distributing one to each of the cast members and posting one on the Call Board.
Script: The script is where you will notate blocking, initially mark sound and lighting cues that are called out in the script, and mark your final lighting, sound, and scene change cues so you can call the performances. Some stage managers choose to make a 2nd script – the Calling Script – for tech and performances.
Using highlighters or stickers of different colors is one easy way to keep track of the different kinds of cues that are happening in a script. Suggestions for easily notating blocking are included in the SM Handbook addendum.
Call Script: The call script is usually completed after first dress. It is the finalized version of the script which contains the final placement of lighting, sound or scene change cues. It should be marked neatly so that anyone could pick it up and call the show.
Lighting Plot: Get the lighting plot, from the lighting designer as soon as possible. Often this does not happen until several weeks into rehearsal.
Costume Plot: Coordinate with the director and costume designer to get costume plot information before rehearsals begin.
The stage manager should know what costume each actor is wearing for each act, when costume changes occur in the script, the timing and location of costume quick-changes, and any costume pieces left onstage at the end of scenes.
Prop List: The stage manager generates an initial props list by reading through the script and taking note of any time an object which is not part of the set or costume is used. Often a director adds or subtracts props, so be adaptable. Distribute your prop list to the director for review and adjustments, then distribute the list to your Props Master. A props list form is included included in the SM Handbook addendum.
Ground-plan: Ground-plans should be distributed by the scenic designer. Be sure you note what scale the ground plan is printed in. The stage manager is responsible for taping important ground plan details on the floor for rehearsals. More information on taping out a ground plan can be found later in this section.
Rehearsal/Performance Reports: Reports should be completed after every rehearsal or performance. The rehearsal report serves as a record of day’s schedule, including break times and cast absences, and convey important production information and questions to the relevant teams. A rehearsal form and example are included in the SM Handbook addendum.
PREPARE CALL BOARD SPACE
Familiarize yourself with the call board. It is located outside of the costume shop in Mago. Use of the physical Mago callboard is primarily for: cast and crew sign in sheets during tech / performances; to communicate scene change information to the stage crew; to post tech call times; and to post any other show-related information.
The digital callboard is an online drive hosting the rehearsal schedule, cast list, contact information, and any other relevant production information.
TAPE OUT
It is great if you have the opportunity to tape out the set right away. Taping out involves taking the ground plan (or a rough approximation) and using drafting tape, scale rules, pencils and any other useful materials to create the shape of the set on the floor of your acting space. If you have never read a ground plan before, ask the scene shop manager to explain the basics to you. Plan on needing at least an hour to get it right and use your ASM. This is easier if you have assistance. There are different ways to go about this, but usually marking the corners or convergent areas of the set first is a good way to start. The rest is just like filling in the dots. Experiment and find a way that makes sense to you. If you have steps or an elevation on your set, use marker to write on the tape and explain the height of the elevation or any other relevant details. The only thing that is important is that when you are done it is easy to understand where everything is on the set. If the actors and the director can easily understand and work in the space then you have succeeded!
Fittings
Fittings are scheduled by the stage manager via the costume shop requests. An online poll is a quick, efficient way to gather cast availability and fill fitting slots once you have the costume shop fitting requests.
Rehearsals
Rehearsals are where you spend most of your time on a production. It is a fast-paced and fun period where you are learning the show, working closely with the director to help achieve their artistic vision, and supporting the cast as they bring the show to life.
THINGS YOU NEED TO BRING TO REHEARSAL:
Prompt Book, Watch, Rehearsal Props, Pencils, Highlighters, Stage Management Kit (this contains helpful things like bobby pins, band aids, paper clips, etc.) It is your responsibility to keep the existing kit well-stocked by taking inventory at the beginning of rehearsal. Needed items can be ???
REHEARSAL TASKS:
Arrive at least 15 minutes before rehearsal starts to set up the space
Sweep stage and clean the space to prep it for rehearsal (setting furniture, props, etc.)
(can also be an ASM task)
Unlock costume shop if rehearsal shoes/garments are being used
Check in with director about what they'd like to accomplish during the rehearsal that night
Turn ghost light off
Text/Call actors that are late
Notate blocking in your prompt book
Be on book for actors and taking line notes (this can also be an ASM task)
Notate sound and light cues as well as costume or set changes in your prompt book
Notate prop, costume, set and other technical notes and script changes (additions / changes / usage notes) as they arise, include them in your rehearsal report. Be sure to ask the director if they have additional notes for the rehearsal report at the end of rehearsal.
It is the stage manager’s job to start and end rehearsals on time, call breaks in accordance with the UP break structure, and generally maintain an orderly rehearsal room by communicating the schedule and upcoming scenes to the cast.
Run fight and intimacy scenes every day.
Be prepared to read lines for missing actors (this is a good ASM task)
Call “Lights Up” and “Lights Down” at beginning and ending of scenes to get actors used to timing.
Call out sound cues such as telephone rings or doorbells.
Communicate the schedule for the following day and prepare cast for any special circumstances: designer runs, PR shots etc.
General rehearsal shutdown: Strike the stage at the end of night, return any rehearsal costumes, put away any props left out, throw out any garbage left in the theatre, turn on the ghost light, turn off the theatre lights, lock the doors. (these are good things for the ASM to assist with )
Email rehearsal reports to Company and Production Team at the end of the night
Tech Rehearsals and Performances
For Tech, Q2Q, Costume Tech, Dress rehearsals and Performances: (items with a * are good tasks to have the ASM manage or assist with)
Try to arrive at least 15 minutes prior to you call time - this give you time to check in a prepare for the rehearsal
Turn ghost light off
Unlock costume shop and design studio and shop (brooms are in the shop)
Set up and test headsets
Post actor sign in sheets
Post crew / ASM pre show / intermission and post-show checklists
Sweep and mop stage*
Ensure directors and designers have tables or music stands so they have a place to take notes.
Check in with director and designers for any other needs they have
Set up God mic / Test God mic prior to each rehearsal
Set up running lights / Turn on running lights before each tech rehearsal*
Place glow tape and fix any missing spikes
Make sure props tables are set up and labeled*
Sound Check
Light Check
Fight Call – onstage
Check sign in sheets to make sure actors are arriving at call time / call or text late performaers
Meet with ASM to go over their tech and show duties (this should happen in the course of rehearsals, don’t leave it until the day of tech!)
Email Production Notes to Production Team by midnight
Give actors calls
Call the show
Check in with designers during breaks
Take show notes at the end of the night [see template on p. ]
Send show notes to everyone involved
Reset the stage for top of show (after dress rehearsal and for performances)*
Attend post-show meeting with designers and directors for notes
Turn ghost light on and lock the doors*
Send Production Notes / Performance Reports out immediately following rehearsal or performance
Strike
TASKS
Strike / Return the headsets to storage
Remove all spike tape from stage
Strike / Return running lights to storage
Remove paperwork off callboard
Clean the booth: empty the garbage, take out papers, leave the space ready for the next users
Help strike set/costumes/props as needed
Organize the cast to help with strike as needed
Using Your Assistant Stage Manager (ASM)
You will be assigned an ASM. Your ASM will be backstage while you are up in the booth calling the show. Build a good relationship with your ASM because you will need to be able to absolutely trust them backstage as they work with the crew and the actors. It is up to you when you ask the ASM to begin attending rehearsals. Often it is a good idea to start using them once the actors are off-book. They can either write line notes or give the actors their lines. Delegating some of your responsibility gives you time to focus on calling your cues and finding the rhythm of the show. During the production process your ASM will be able to help by sweeping, spiking furniture, facilitating scene changes and other activities. The exact duties of the ASM will depend on the nature of the show and your personal management style. However, it is an important job and you need to relinquish enough control to give them a sense of purpose and authority within the production.
Notating Blocking
Blocking notation needs to make sense to you. However, it needs to be clear and concise enough that if you are gone for any reason someone else can interpret what you have written. It is a good idea to print off the script so that each page of text has a facing page which is blank. You will want this room to take notes. One way of notating is to number each bit of blocking (starting with the number one) in the text and then writing the corresponding number on your blank page with a description of the movement or action that is taking place. You should start over at the number one for each new page of text. Some stage managers like to print off the ground plan and draw the blocking for each character on the ground plan utilizing arrows and colored pencils. The most important thing is to make your notation neat and easily readable. It should make sense, have order and have a unified method of organization throughout the script. Also, standardize some abbreviations for areas of the stage such as DC for Down Center or UC for Up Center. Use your common sense and find your own rhythm.
Line Notes
You or the ASM take line notes for the actors. Ask the director in advance how word-perfect they wish the actors to be. Some directors don’t mind a few paraphrased lines, others want perfection. Find out when the Create a sheet for each actor which lists the page number, line missed and reason for the note (paraphrase, skipped, bumbled, etc.). It can also be helpful to include a section for general notes about line delivery. You can include notes on diction or volume here. Each actor should receive line notes every night.
Scene and Costume Changes
Be aware of what needs to happen between scenes. The length of a costume change or the movement of a piece of furniture can seriously affect the rhythm of a show. You need to have your shifts timed and practiced so that they can be effortless. Early on mark in your script where these shifts happen and exactly what is entailed. Practice them. Make the scene changes as much a part of the production as anything else. Well-timed scene changes can make all the difference in a show. You may wish to write out a list of the changes and a breakdown of the order of the scenes. You should post this on your call board, give one to your backstage crew and place one in a place accessible to the actors.
DESIGN, PRODUCTION and TECHNICAL MEETINGS
Design Meetings
In the early phases of production, the artistic staff (directors and designers) has several
meetings to discuss and collaborate on the conceptual approach that the show will take. Each
member of the staff strives to grasp the major dramatic question posed by the playwright and
brings to the table her or his ideas about the show. The director serves to unify these ideas and
provide a synthesized direction for the artistic team.
Production Meetings
It will be your job to set up weekly meetings between designers and your director. These meetings are a forum for discussions, questions and comments concerning the production process of your show. It is important that every designer report on their progress and get enough time to thoroughly communicate with the director. You need to facilitate these discussions and take appropriate notes. These meetings will also clarify details of tech week and other important aspects of your production process. Take good notes and keep everyone in the loop.
Production meetings are held weekly once the show is in rehearsal. They are a chance for the stage manager, the designers, the property master, the technical director and the director to communicate any concerns and ideas about the show. Production meetings serve as a forum for solving any problems that arise over the build of the production. The stage manager sets the agenda and runs each production meeting.
Paper Tech
Paper tech is a meeting between you and the sound and lighting designers. In the case of large musicals you might also have the set designer there to talk you through set changes. However, you will usually just be dealing with the sound and lighting designers. At this meeting you will learn exactly where to call cues. Usually designers have exact words within the script that they wish for you to use, so take careful notes. It will be your job to call the show appropriately so as to render their design correctly during performances. Lighting cues are numbered consecutively and sound cues are notated using letters.
Box Office
While you do not need to officially sit down and meet with the box office folk, it is a good idea to know who is in charge and have a general idea of what sort of audience to expect every night. Make sure you introduce yourself and check in often enough to be able to answer their questions and aid them in providing good customer service to audience members. For example, the box office needs to know about language, smoking or inappropriate content in a show so that they can notify audience members.
TECH WEEK
Prep Prior to Level Set:
A checklist including everything that needs to be complete before you can call places and open your show each night: think in terms of sweeping, mopping, putting show signs up, turning monitors on, preset props, preset levels, etc.
A detailed schedule for the cast and crew with call times and specific duties: this should include schedule for light and sound checks
Glow Tape: use this on steps and backstage so that actors don’t trip and injure themselves
Carpet or duct tape over cables which are lying in the path of actor’s feet
Headsets placed and checked
Spike marks for all furniture
Running Lights
All standby’s and cues written in PENCIL in your script
Level Set
Level Set is an important time because you will get a chance to become acquainted with the various design elements. You need to be there to answer questions about blocking, cue numbers, etc. This is valuable time that you can use to go over your script and prepare yourself.
Cue to Cue
This is YOUR rehearsal. This is your first real chance to call the show on headset. This is your chance to really fine tune the timing and placement of cues. This is your one shot to get everything going smoothly. If you need to practice a cue 8 times then go for it. You will run the cues with the actors on stage, tell them where you are starting from and where you are ending. Stay calm, relax and allow yourself the lenience to make a mistake here and there and figure out what you need to do to fix it.
Calling a Show
Calling a show requires giving a “Warn” to your SBO or LBO about a half page before the cue occurs and then a “Go”. Here are a few ideas to help you accomplish this successfully:
Give your “warns/standby’s” early rather than later. You can adjust time later.
Explain your calling process and pattern to your crew in detail.
Understand that any missed cues, regardless of the reason are you fault. The show is your sole responsibility.
Pay attention to what is going on, don’t let too much headset chatter interrupt the main purpose of successfully calling a show
You can notate this in your script by marking the exact position of the cue and then drawing a line to the side of the text. Here you would write something like “LQ4 Go” or “SQB Go”. The same applies to stand-by’s, you would write “LQ4 Standby”. If two cues go together you can write “LQ4 & SQB Go/Standby”. This can be flexible; you can develop your own style, just make sure that it remains the same and has a rhyme and reason.
First Dress
The call times for the actors will be determined by the costume designer. They usually are allowed to come in a few minutes later for first dress since UP does not typically do make-up on this night. You should plan on being at the theatre at least 30 minutes before anyone else. In terms of communicating with the actors, you will need to give them time calls of 30 min, 15 min, 10 min, 5 min, and Places. In addition, you need to call them to Prop Check and Fight Call if required. It is a good idea if you can be present for Light and Sound checks which should happen approximately 30 minutes before the house opens. After this night you should be able to transfer all cues into your call script.
Second Dress
This rehearsal is for all intents and purposes a performance. This is your time to refine any mishaps that may have occurred in scheduling or delegation of tasks during first dress.
PERFORMANCES
In General:
Arrive at the theatre at least 2 hours before the show begins
Do headset, light and sound checks
Make sure your crew is all present and ready to go
Do your checklists (sweeping, turning on running lights etc…)
Call Prop check
Have fight call (if appropriate)
Communicate with the House Manager
Clean up and Lock up
Write your Production Report
Have Fun
Emergencies
In general, if there is an emergency call public safety. If you are in need of immediate medical assistance call 911, otherwise public safety will be able to help you. Usually a faculty member will be in attendance every night and will be able to assist you.
If you are having an issue with a scenic element, call the Master Electrician or Shop Manager. You should realize that if push comes to shove you may have to get out a screw driver and tack up that molding yourself.
House Manager
You need to introduce yourself to your House Manager and make sure that they are comfortable and have everything that they need. At UP the House Manager will do the announcements at the beginning of a production. They also receive any complaints from audience members. They know how many tickets are still at Will Call and whether or not you need to hold the house for any reason. Good communication between yourself and the House Manager will result in a better experience for everyone.
STRIKE
POST-SHOW
After the show is over you will need to participate in strike. It is your responsibility to make sure that the booth is organized when you leave. In particular you need to safely disassemble the headsets and put them away properly. It is your job to stay until the end of strike and be the last person to leave the theatre. At the very end of the process you answer any last-minute questions and finally turn in your keys.
(George Fox)
a. Notes on the Production Schedule
Because stage managers typically put in a large quantity of hours (80 - 90 hours), if you have work study in the department's shop after 45 hours your extra time can go towards campus employment.
