Economic subjects | Management » A Manager Prepares, A Stage Management Guide to Middlebury College

Source: http://www.doksinet A Manager Prepares: A Stage Management Guide to Middlebury College “A new stage manager typically makes his own kind of improvised performance, trying to carry out the functions of stage management without ever being able to find out for sure what those functions are, except by trial and error. Unfortunately, there are few places where anyone can find any written summary of useful principles or primary needs of stage management, and what they do find by gleaning from texts on directing, stagecraft, or the like, is not usually appropriate to any one person’s theater situation, much less to a reliable or professional standard for this kind of work. Most managers solve their problems with whatever organizational skill and inventiveness they possess- but at an unwarranted cost in time, effort and uncertainty.” 1 Introduction This Stage Management Handbook was written to clearly define what a student stage manager is responsible for in a Middlebury

College theater production. It is my belief that almost every problem that arises in a production can be avoided if only those concerned are aware of it and have the knowledge and skills to prevent it. It is my hope that this handbook will shed light on issues and pitfalls that are potentially hazardous to a production and those involved I have undertaken to evaluate what I have learned in more than four years of dedicated stage managing and organize that information to serve as a guide to others. I also strive to convey the fulfillment felt in a well-managed show Before I begin, something must be made absolutely clear: THIS HANDBOOK IS NOT THE FINAL WORD ON STAGE MANAGEMENT, neither at Middlebury College or anywhere else. This handbook is only to be used as a GUIDE Please allow your 1 Source: http://www.doksinet director and the production team to override anything and everything I say herein. Their word is the law and you are obligated to do what they say, not what I say. This is

not a contract for anyone to abide by. This handbook is only the culmination of my stage managing experiences at this college, and is intended to offer an, albeit educated, viewpoint on the topic. Please keep this in mind as you read this document When I set out to write this handbook, I searched many different texts for a clear and simple definition of a stage manager’s job and qualities. I found very few theatrical manuals or texts that even attempted to define the stage manager’s job, and fewer still that provided a definition I would be proud to quote here. I believe this to be indicative of two things: stage managers’ historical tendency not to record their ever-evolving role in production; and the fluidity of definition every stage manager must apply to any production. There is then no easy definition of a stage manager’s job that is applicable to every production. Oscar Brockett, an historian, offers a definition that is somewhat complete. “. the stage manager helps

to organize and run tryouts; he attends all rehearsals and records all changes in lines, blocking, and cues in the master copy of the play; he posts the rehearsal schedule and keeps all notices up to date; he may be asked to notify the designers of any changes in plans that affect their work. Since the stage manager is in charge of the performance, he must know as much as possible about every aspect of the production. For this reason, he compiles a promptbook, which records everything that affects the performance (all cues for lights, scene changes, sound, actors’ entrances, curtains or blackouts, and so on,) and he must see that all directions are carried out.” 2 1 Lawrence Stern, Stage Management: A Guidebook of Practical Techniques. (Boston: Allyn and Bacon, Inc, 1974), preface. 2 Oscar G Brockett, The Theatre: An Introduction. 4th ed (Holt, Rinehart and Winston, 1964), 529 2 Source: http://www.doksinet Possibly the most encompassing definition of a stage manager’s

necessary qualities is encapsulated in a conversation between a first-time stage manager and a professional stage manager, Daniel Ionazzi. After having listened to a long explanation of the duties and responsibilities she would undertake, the first-time stage manager was asked if she had a good understanding of what was expected of her. She replied, “‘Sure Totally responsible for totally everything.’” 3 She was right In that moment a first-time stage manager expressed the job description and character of the best in her field. Ionazzi defines a stage manager’s necessary characteristics in detail. “A stage manager is a LEADER, who is SELF-MOTIVATED and EVENTEMPERED, with the ability to ANTICIPATE and ADAPT to constantly changing conditions. Stage managers are DEDICATED to and RESPONSIBLE for every aspect of their productions without losing their SENSE OF HUMOR. They provide an EFFICIENT and ORGANIZED work environment while remaining EMPATHETIC to the people and the process.

And finally stage management is an art A stage manager is as CREATIVE as any other member of the production.” 4 These are the characteristics which are found in the best stage managers. I would like to comment briefly on something that doesn’t necessarily fit into any particular section of this handbook. It is the care and maintenance of your sanity via a positive attitude. The more positive your attitude is, the happier you, your cast, crew, and director will be. Smile in the face of adversity; stay calm in crisis; and remain optimistic when busy beyond belief. These Herculean feats will gain you the respect and authority you need to run a tight and efficient show. By acting calm and assured (even if you are 3 4 Daniel A. Ionazzi, The Stage Management Handbook (Better Ways Books, 1992), 11 Ionazzi, 11. 3 Source: http://www.doksinet not) you will create a calm, reassuring atmosphere for the rest of the cast and crew, and for this small bit of acting, everyone will gain

immensely. Though presenting a face of pleasant confidence and competence to the cast, never forget to -privately- share with your director your concerns if you are overloaded with work. It is your responsibility to fulfill the duties of your job, but it is equally your responsibility to “say when”. This is college theater, and you have four other classes Contrary to popular belief and semesterly experiment by many theater students, you too must sleep. and eat and study and be sane to do it all Do not make the mistake of saying yes and yes and yes if you will end up having to say “no” in crunch-time. You will earn the respect of everyone if you know your limits and can therefore plan within them. If you need help, ask for it If you do not, or cannot get the assistance you need, be honest with the director about what can and cannot get done, work with the team to adjust expectations or production demands accordingly. Ask for help before you drown Being honest about your

limitations early on will prevent crises and breakdowns later. Otherwise, your director will never know that you are drowning until you begin to scream. Find your own balance so that you won’t have to scream Maintaining a positive attitude lends itself to finding this balance. The remainder of this text is concerned with the stage manager’s responsibilities as they come up chronologically in the production process. The mixed blessing of theater is that no two productions are the same. What I have experienced in four years cannot anticipate most of what you will encounter during your forays into this thrilling art. Therefore, the only way to use this handbook is as a guide; take from it what you 4 Source: http://www.doksinet need and leave the rest on the backburner for another show. But most of all, have fun and good luck! * Auditions If you are fortunate enough to get involved with a production before auditions take place, you may be recruited to monitor and help out during

them. A director will likely utilize your organizational skills from the earliest possible moment. The pre-audition duties of a stage manager are to photocopy cuts from the script as needed by the director in preparation for auditions. Make enough copies for each actor in each scene. These are called actors’ “sides” Your director may ask you to make a sign-up sheet with timed intervals on it for the auditions. Before the auditions begin, clarify with the director how the auditions will proceed, when callbacks will be posted, when and where they will be held, and when the casting will be completed. Read the play and know the dates of the show so you can answer auditionee’s questions. At auditions, be courteous and helpful, but maintain a professional distance from the auditionees. Directors vary in how much they want the stage manager involved in auditions. When the auditions are over, some directors may choose to post their own callback lists, others will ask you to type it up

and post it. Clarify with them how you can be helpful or stay out of the way, whichever the case may be. In the meantime, you can begin to prepare your script. 5 Source: http://www.doksinet One final word on callback and final cast list postings. Remember to include the director’s thanks to all those who auditioned and encourage them to audition again in the future. The director may have specific words for you to use at the end of the list, but if you are still unsure, check with the Theater office for a format example. * Rehearsal Introduction and Rehearsal Forms It is frequently the case at Middlebury that the stage manager of a student show isn’t brought into the process of production until after the show has been cast. Faculty shows usually have a stage manager by auditions. In most instances you are not yet at a disadvantage to the student show. In any case, the first thing you should do when you know you are stage managing is to meet with your director. Ask him or her

questions such as: is there a production calendar yet? Who is on the production team? When will the show be cast (if auditions have not been held)? How do you work as a director? How do you work with a stage manager? How do you conduct rehearsals? What is your conflict policy? If you are unfamiliar with the content and concept of these questions, don’t worry; they will be discussed throughout this text. In general, what you are asking is what your role will be in this production. Also, get a copy of the script and read it Contact Sheet 6 Source: http://www.doksinet A contact sheet lists the names, phone numbers, box numbers, and email addresses of the director, stage manager, assistant stage manager, cast, designers, technical director, assistant technical director, and anyone else on the production team (See section on Production Meetings). Tell the cast how you will be communicating with them, be it via voicemail, email, or whatever. It will likely be voicemail; but whichever

it is, have them check it at least once a day for the duration of the production, as you will be leaving them frequent messages. Distribute a copy to everyone involved with the production. Update it as necessary Distribute scripts At the first rehearsal, or before if at all possible, make certain that absolutely everyone has a script. Students can purchase scripts in the Theater office This includes every waiter-who’s-only-in-Act III, designers, the TD and any other technical staff. This is basic, but so important. This is not usually a concern for faculty shows, mostly for student ones. Preparing the Promptbook The masterscript is the script that holds all the blocking notes and cues of a show. The masterscript goes in the promptbook. The promptbook holds the masterscript, the contact sheet, conflict sheets, prop list, rehearsal notes, production meeting notes, production calendar, breakdown of scenes, groundplan, and any other information about the show. This is a stage

manager’s bible It must be organized, all information must be 7 Source: http://www.doksinet accessible. Divide sections with tabs The point is: If you get hit by a bus, someone should be able to step into your shoes and finish the show. You will receive a photocopy of the script at the beginning of the show. It will have two playscript pages sideways on one 8.5 x 11 sheet of paper Get ahold of a paper cutter and cut each sheet so that each playscript page is on its own page. Photocopy that onto an 8.5 x 11 sheet of paper, centered to allow wide margins on all sides of the actual text. I also usually enlarge the type on the photocopier so that I can see it better You may photocopy them double sided, or you may leave the page on the left blank (as it will be in the promptbook), with the play text only on the right. See the Appendix for sample scripts with blocking, notes, and cues in it. Don’t follow my example as law, find a method that works for you. The important thing is to

allow yourself as much room as possible to write notes, blocking, and cues. Conflict Sheets A conflict sheet is an organized list of all times that actors have conflicts with scheduled rehearsals. In order to create a rehearsal schedule, the director needs to know when the actors are and are not available. If you are stage managing a departmental show and it is a class, acceptable conflicts may vary from those accepted for student shows. Actors will list all of their foreseen conflicts for the semester on one sheet of paper, and after a certain point in the production schedule, no more are accepted or honored. Ask for all actor conflicts IN WRITING. Confusion or mix-ups with conflicts can and should be clarified by you and the director-at his or her discretion- in the beginning. 8 Source: http://www.doksinet Organizing conflict sheets can be difficult, but this sheet is what you and the director will make weekly rehearsal schedules from. It is for this reason that it must be

accurate, up to date, and easy to read. The stage manager, the AD (Assistant to the Director), and the director will all have copies of this. Some find it easier to lay out conflicts on a blank monthly calendar page; others find a list by actor or by day to be more convenient. For me, it varies by show, number of general conflicts, and number of actors to keep track of. Both systems are fine, but your own is the best. Running Rehearsals “But what am I actually responsible for daily in rehearsal?” Linda Apperson’s Stage Managing and Theatre Etiquette. 5 is a goldmine of information on conscientious stage managing. She lays out the primary responsibilities of a stage manager for running rehearsals. -Unlock and lock up the rehearsal area or theatre. You are the first to arrive and the last to leave. This gives you built-in time to do little projects or repair work -Set up the rehearsal area. Set an approximation of the scene being worked on with tables, chairs, benches, or whatever

is available, and have rehearsal props accessible. -In your “prompt script”, take precise notes in pencil of all the moves the director tells the performers to make. These moves are called blocking 5 Apperson, 34-5. 9 Source: http://www.doksinet -Stay “on book”, which means follow the script, so that you are ready to read a line to any actor who “goes up”(forgets). You may also be called upon to read the lines of an actor who is not at rehearsal. -Keep track of the next scene to be rehearsed, so you can set up for it quickly and make sure the actors needed are in the vicinity. -Fake practical sound cues (doorbells, phones, gunshots). Call light cues such as blackouts and lights up to define the scene and help set it in your own mind. -Take notes on potential problems or changes in the set or props. Communicate these changes or problems to the appropriate production personnel. -Time scenes once they are running without stops, and jot down the times for future

reference. Master Script The master script will contain all blocking, set and prop placements and movements. It will eventually contain all cues and where they are executed in the show The master script should be up-to-date at all times: if the stage manager becomes for some reason unable to run rehearsals or call a show, it is the master script and promptbook that will guide the substitute through it. Your promptbook must be wellorganized and clear, in a fairly standard format The master script does not contain any information not necessary to the proper running of a show. It does not generally contain what the light cues are(except perhaps a 10 Source: http://www.doksinet very general note); only when they occur. It does not include costume changes, except quick changes that affect the performance. It contains prop movements, set changes, and blocking because these things will affect the informed running and calling of a show. The first information to go into this master script

will be blocking, or where the actors move about onstage. DO THIS IN PENCIL In fact, everything written in the promptbook should be done in pencil. Pen is messy when things get changed And things will get changed! Develop a time and space saving shorthand in which to write down blocking. It is important to remember that though shorthand blocking is convenient, it should follow a standard format. Stage right and left are the actors’ right and left As they face the audience, upstage is farthest away from the audience and downstage is closest to the audience. Here are standard, universal shorthand terms used to record blocking: USR upstage right USL upstage left USC upstage center CS center stage CSR center stage right CSL center stage left DSR downstage right DSL downstage left DSC downstage center x cross comes onstage enters leaves stage exits For example, this: Sarah x SL-DSR means for Sarah to cross from stage left to downstage right. Be concise yet reasonably detailed Blocking

questions will always be addressed to you, so it needs to be accurate and explicit. Specify which door or exit he is using; which chair she is sitting in. For further examples, see the Appendix For 11 Source: http://www.doksinet complex productions, you can sketch a small groundplan onto the opposite page and draw the blocking. Actions can speak louder than words! Rehearsal Notes Taking rehearsal notes is one of the most important duties of the stage manager because it requires constant analysis of rehearsal as well as immediate followup. It is the stage manager’s job to make a note of any props that come up in rehearsal, especially if they are in addition to what is in the script. If the prop is called for in the text, then you will want to keep an ear open for any specifications added to it by the cast or director. Check with the director to determine if you should pursue the specification with the production team. This means that if the director wants the ledger in Camille to

be pocket-size rather than desk-size, the props manager (or props master) needs to know that so he doesn’t find a larger one. If it is you who are finding the props, as is usually the case in student shows, you will want to know exactly what to look for to spare you the hassle of bringing the wrong size ledger. If the director decides that it would be great for Marie Antoinette to jump on a table and dance, then the set designer and tech director need to know to make the table strong enough; and the costume designer needs to know that her period-dressed actress has to jump and dance. It is important to catch these things, even if the director doesn’t specifically turn to you and say, “Could you tell Mark, Allison, and Jule about our dancing Marie Antoinette?” The consequences of not telling the production team these sorts of things can result in last minute emergencies and a great deal of unnecessary stress. Passing this information along is all part of taking good rehearsal

notes Again, 12 Source: http://www.doksinet check with the director at the end of the rehearsal to define what notes you are passing along. Another place to discuss prop, costume, or set issues that come up in rehearsal is in production meetings. One of the most valuable assets of a stage manager is the willingness to ASK QUESTIONS. If you are remotely, or even not-so-remotely, unclear about what someone is asking of you or telling you to relay: ASK AGAIN. If it’s necessary, repeat the information back to your director(or designer, or TD) to make sure you’re clear on it. Linda Apperson has a few fine words to say on this subject. “[The stage manager is] expected to be an encyclopedia for the cast. But never be afraid to say, “I don’t know.” Don’t put yourself on the line if you don’t know- people will never trust you if they get too many wrong answers. But along with saying you don’t know is the obligation to go find the answer, or tell them whom to talk with if

that’s more appropriate. . Accept responsibility for knowing as much as you can and sharing it with everyone who needs to know. Impart information in the most efficient, direct way possible, and pay attention to the response to see if further action is needed on your part.” 6 Timing Discuss timing and breaks with your director before the first rehearsal. Does he want you to tell him when it’s time for a break and then he announce it to the cast? Or does he never want to see a clock and turn it all over to you? A lot of tension between you and the cast and you and the director can be avoided by simply clarifying the director’s wishes ahead of time. After the promptbook, pencils, erasers, and a positive attitude, your watch is the most important thing you will bring to rehearsal each day. You are the company clock. You will keep track of length of scenes, acts, and breaks Take the initiative; no one will if you don’t. Be very clear about the end of breaks and 13 Source:

http://www.doksinet beginning again on time. It is your job to keep the rehearsal on schedule and maintain productivity. But along with this goes flexibility Learn when to let things go “until they get it right” or you risk deflating further productivity and morale. Delegation A conscientious stage manager may find it hard to delegate responsibilities. In order to keep your workload manageable and to make sure your assistant has meaningful projects, you must delegate. Clarify exactly who does what and when deadlines are Certain tasks fall strictly on the stage manager’s shoulders (blocking, rehearsal notes, etc.) But most duties can be shared as time and ability allows Production Meetings Production Team At production meetings the stage manager brings up director’s concerns, discusses questions from the week that were not answered through rehearsal notes. Each department then reports on its progress and/or problems. A production meeting is a great time to bring up the

dancing Marie Antoinette to clarify exactly what modifications to the table need to be made, etc. It is the stage manager’s responsibility to take detailed notes throughout this meeting, and then distribute them to all team members. Everyone should be clear on what was established and what still remains a concern for the next week. The key players on the production team are the designers and technical staff. Here are their definitions. 6 Linda Apperson, Stage Management and Theatre Etiquette: A Basic Guide. (Chicago: Ivan R Dee, 1998), 41 14 Source: http://www.doksinet Set and Lighting Designer, Mark Evancho The person responsible, in collaboration with the director, for the design of the lights of a production is the lighting designer. The lighting designer decides where the lighting instruments will be placed, what colors they will be, when each instrument turns on and off, and what intensity it will be when it is on. Mark Evancho is the faculty lighting designer at

Middlebury, he is also the set designer Costume Designer, Jule Emerson The costume designer is responsible for dressing the cast in a way that will delineate and enhance their characters. He or she may create designs, choose fabric, and have the costumes sewn, or may buy or rent costumes. As a stage manager, you may have little contact with the costume designer other than making sure that actors are available for fittings during the rehearsals and accommodating quick changes. Jule Emerson is the Costume Designer at Middlebury. Technical Director, Allison Rimmer The technical director, or TD, supervises all aspects of the building of the set, from reading the drawings and buying materials to setting up the scenery on stage. The TD is responsible for making the set work. Middlebury’s TD is Allison Rimmer Work with her to find out exactly how the set operates, that is, how many people will it take to move each piece during scene changes, and what specific pieces are used in each scene.

TD’s move the show into the theater but are not involved in running the performances. 15 Source: http://www.doksinet For student shows at Middlebury, stage managers almost always help with the get-in and technical set-up of a production. Production Calendar The first priority of the first production meeting is to make a production calendar. This is a calendar of due dates. For student shows, if it hasn’t already been done, establish when the designers will have completed designs, when the light plot will be hung, when the TD anticipates actors can be onstage, when Q2Q will take place, how many tech and dress rehearsals there will be, when photoshoot is, and anything else that will affect getting the show up. Lay it out on a blank monthly calendar, filling in the appropriate information- in pencil of course!- and stick to it. Work backwards from opening night. That point cannot be stressed enough There is no other way to create a production calendar than to work backwards. For

example (and each show may set a slightly different calendar): if you know you open (the faculty show you are stage managing) on Thursday, April 29, then you know that Final Dress will be Wednesday, 4/28. So First and Second Dress are the two days prior to that You therefore would know that there will be a Tech Run(I’ll get to these definitions in the next section) on Sunday the 25th. That means Q2Q(cue-to-cue) will be Saturday 4/24 That means light looks and sound rehearsals will run the week preceding that, from Monday 4/19 through Friday 4/23. This sample schedule is very different from what a student show production calendar would look like, only because tech for them happen in a matter of days rather than over two weeks. In either case, your goal is to develop a calendar that will enable you and your team to get everything done and open on time. 16 Source: http://www.doksinet Another area which you may want to include in your calendar is program and poster due dates. For

example, if programs have to be ready for opening night, and you’ve got to give Reprographics (the on-campus printing center) time to finish them, you should plan on turning them in to press on Monday, 4/26. Work backwards again for posters and programs just like you did for tech. Working backwards is the best way to make the production schedule. The schedule may change, but you will at least have it all right in front of you so you can easily see the consequences of any changes that are made to it. Meeting Deadlines A great challenge to any stage manager is meeting deadlines. As opening night approaches, you will find your time highly in demand. You can plan for this by taking care of things as soon as they come up, rather than waiting until the last minute. Also, ask for deadlines from your director. If she asks for this or that prop, after making clear what she wants for that prop, ask her when she wants it by(as well as if there needs to be a rehearsal prop and a performance

prop--but we’ll get to that). Set deadlines for yourself, such as, “I will have props by this date, and all actors’ bios for the program by this date”, and so forth. To allow for unforseeable disasters, build extra time into your deadlines. If the absolute last date for bios to be in to Repro is Friday, tell yourself and the actors that they must be in your hands by Wednesday. or whatever the case may be Others will advise to set the due date and just do it by that date. Observe how best you work and modify your personal and production schedule accordingly. 17 Source: http://www.doksinet Rehearsal Schedule With the production calendar, you and the director will sit down, outside of production meeting, and make a rehearsal schedule. If you are doing a student show, you probably won’t be able to plan more than a week of rehearsals at a time until the last three weeks or so. Rehearsal times will be determined by two things: actor conflicts (which you should know about from

day one) and rehearsal space availability. For student shows, try to be consistent when planning rehearsal times and spaces. Your cast will more consistently attend rehearsals if they are held at the same time and in the same place. Faculty shows tend to rehearse in the same place every time Rehearsal Spaces Secure rehearsal spaces through Student Activities as soon as you know actors’ schedules. You will then have the luxury of being able to rehearse when and where you want rather than having to squeeze in somewhere at the last minute. Some student directors and stage managers call Mrs. Charlene Bergland in the Student Activities office to see if there is space available that afternoon or the next. They often end up rehearsing in hallways or alcoves rather than dorm lounges or proper rehearsal spaces. If, for instance, you know that you can hold rehearsals every Monday from 4-6pm, then reserve a lounge for your entire rehearsal period, rather than taking your chances each week.

Obviously, students schedules vary incredibly, but if you have fixed rehearsal times, you can plan ahead. It is simply in your best interest to reserve more than one week at a time As a point of clarification, it is the director’s responsibility to plan rehearsals; but it is your job to secure the rehearsal spaces. The exception to this practice is that whoever is getting credit for the show is equally responsible (i.e, the director or actor, but not the 18 Source: http://www.doksinet designer). Ask your director which 3-4 spaces they prefer to be in; you may not always get your first or even second choice. The week before your show goes up in the Zoo, you should have priority to using Hepburn Lounge. You will want to make sure that the other shows have discussed this point so nobody gets cheated out of the space. You will still have to work around things like a cappella groups that reserved the lounge from the beginning of the year. The Groundplan If you have a consistent

rehearsal space, tape out the groundplan as soon as it is approved by the production team. Student shows are rarely accorded this luxury But stage managing a departmental show usually means that you will be rehearsing in a single space until you move into the performance space. Use colored spike tape to reproduce the groundplan on the floor. This allows the director to block the show Ask your director, the designer, or any of the technical staff for help if you haven’t done this before. Rehearsal Props Rehearsal props are substitute props until you get the real thing. Either get them by securing them yourself or by going through the staff Assistant Technical Director(ATD). The director will probably want rehearsal props in the actors’ hands as soon as they are off book. Make sure the actors have something that is a reasonable facsimile of the real thing. This will allow them to find the problems of getting the props 19 Source: http://www.doksinet on and off stage, into

pockets, etc. Integrating these into the process as early as possible will make the actors’ transition into the real thing that much easier. Store the props carefully and neatly. For departmental shows, props will be stored either in the prop closet in Wright or in the closet in CFA 232. Ask the ATD if a particularly precious or stealable prop should be stored somewhere else. Student shows have a tougher time with storing props since they rarely have consistent rehearsal spaces. Do the best you can; if you rehearse in Gifford frequently for example, store them in the actor’s room who lives in that dorm. * Tech The two weeks prior to opening night are incredibly exciting for everyone involved in a production. During technical and dress rehearsals, lights, set, sound, props and costumes are introduced to the show. Usually abbreviated to “tech week” or “tech rehearsals”, this is an incredibly busy time for everyone. During this time you will incorporate all of the

information you have accumulated throughout the rehearsal process. There are several stages of tech that begin two weeks prior to opening and end with the final dress rehearsal. It begins with light and sound rehearsals; then Q2Q; then the tech run; then first dress; second dress; and final dress. There is so much going on for each of these stages, I have laid them out as clearly as possible below, in chronological order as they occur. In an ideal world tech for student shows would be as regulated as it is for the faculty shows. Unfortunately, this is not the case Whereas tech week for faculty shows encompasses about two weeks, tech week for student shows is crammed into about four or five days. Light looks will be a much abbreviated process; as will pre20 Source: http://www.doksinet Q2Q and tech run. They will likely be incorporated into another technical rehearsal This does not mean that the stage manager is not responsible for prop tables, actorproofing the theater, and any other

important function a stage manager of a faculty show performs. It only means that the stage manager of a student show must be creative and super-organized. Something must be said before we dive into the logistics of tech rehearsals. Tech week is for you, the stage manager, and your crew. Someone once said, “remember that while you [the actors] have had six weeks to perfect your part, the technical crew has only one to perfect theirs’.” So use this time well Light and Sound Rehearsal The first part of technical rehearsals are the light and sound rehearsals. Usually the light rehearsals take place over three or four days, in the afternoons. Actors are not present. At the light rehearsals, or “light looks”, the stage manager, director, lighting designer, the light board operator, and several walkers will look at, one by one, all the different light looks for the show. Each change in the lighting becomes a separate cue It is at this rehearsal that you first -officially- write

the cues you will be calling into the promptbook. The director will tell you precisely when the cue should be called Light cues look like this: LQ1 GO; LQ2 GO, and so on. Sound rehearsals are much the same, but usually can be done in one or two sessions, usually in the morning, when the theater is quiet. The sound designer will work with the director and the sound board operator to set and rehearse each sound cue, adjusting levels and fade times. Sound cues are numbered similarly to light cues: SQ1; 21 Source: http://www.doksinet SQ2. Any other cues, such as video, fly, microphone, or entrance cues should be classified in an abbreviated and clear manner. See the Appendix for examples For student shows, technical rehearsals are less formal, for the simple reason that time is so limited. Light and sound rehearsals are then somewhat less formal (though no less important); usually taking place as soon as the light plot is hung (Sunday before opening). Pre-Q2Q The day before Q2Q is the

time the SM, the ASM, and the ATD work together to prepare the backstage area for the actors and technicians. Today is the day to prepare for actors moving around a dark backstage and bumping into everything onstage. Anticipate dark areas that need glo-tape (tape that glows in the dark) and run lights (dim illumination for the backstage area), and mark with glo-tape any shin- or head-busters on the set. These things are in fact the things the ASM will do during pre-Q2Q, because the stage manager primarily supervises this process. Delegate these jobs because they are what the ASM will be working closest with during tech and the production. It is also time to meet and organize backstage activities. Set tasks/duties for you, your ASM, and the run crew. Your ASM will place and label the prop tables (See the Appendix for a sample prop table.) During tech week and the production you will be working closest with your promptbook. If you have not already done so by this time, clean up your

script, making sure that the cues are correctly placed and clearly written. As time allows, begin to add 22 Source: http://www.doksinet in Warnings and Standbys. Make sure that blocking notes are not in the way of cueing notation. Tech Rehearsal Checklist The Tech Rehearsal Checklist can be found in the Appendix. It compiles supplies that should be handy for Q2Q and tech week; lists actor traps to anticipate; how to set up a prop table; and just about anything you’ll need to do before tech week begins. Use this list to prepare for Q2Q. The theater staff (TD and ATD) will work with you for faculty shows. Keep in mind that this list is aimed at teching a show in the Studio Theater, and may cover more or less than is necessary for the show you happen to be working on. It is, however, easily adaptable to Wright Theater and the Hepburn Zoo. As you have done with any of the other information I have laid out here, use the checklist as a guideline, and use your best judgment as to what

needs to be done to prepare your performance space for tech and performance. Prop tables During rehearsals, you will have figured out where each prop comes from, and where it needs to end up. At pre-Q2Q you will know that you need a prop table USR with the gun, knife, and candlestick on it, etc. A prop table is a table backstage that props are laid out on during the performance. The table should be covered with sturdy Kraft or poster-like paper and each prop should clearly have it’s own spot marked out by a 23 Source: http://www.doksinet Sharpie or a similar marker. This space should be clearly labeled with the name of the prop in letters large enough to read in run-light. See the Appendix for an example Determine with the costume and prop department whether a prop is a personal prop (the actor carries it with them and stores it with their costume), or should be on the prop table. When that is established, decide where each prop needs to be set during the run of the show. Should

it be set on stage right or stage left? The answer is whichever side it enters on, either with an actor or during a set change. Does it enter stage left and exit stage right? If so, does it immediately need to enter again from stage left? If there is not time enough to get it to stage left, does it need a double? This is something that should be worked out before this point, during rehearsals, especially if it is a unique or hard-to-find prop. Cue-to-Cue; or Q2Q At Q2Q, the show is run one light cue, sound cue, or set change at a time to see how the cue or set change works, using actors but cutting (not performing) dialogue between the cues. The stage manager calls each cue as was decided in the light and sound rehearsals. The cue may or may not work; it may need to be called earlier or later When the correct timing of a cue is decided upon, incorporate the change into the master script. The cue will be modified until the proper look or transition is achieved A cue has three parts:

the Warn, the Standby, and the GO. In addition to calling GO, give Warning and Standby to backstage and crew for each sequence of action. A warning is given to the tech person who will be executing the cue. It’s a good idea to discuss how you call the show with operators and crew the first time you work with them. 24 Source: http://www.doksinet For instance, if LQ12 is coming up in a half of a page, then you will want to make sure that they are ready to execute it. You will say over the headset, “Warn LQ12” The standby takes place just a few lines before the cue is called. After saying “Standby LQ12”, your light board operator will reply, “LQ12 standing by”. Use your best judgment about when to give warnings and standbys; you don’t want to call them too early or too late. If this communication is happening over the headsets, ask your crew to please cease all conversation once a standby has been issued. Everybody involved in the cue needs to be able to hear and

concentrate. Before Q2Q is begun, take the opportunity to lay out some guidelines for actors and crew members, speaking them as gently and simply as possible. Being quiet backstage, not talking until the director is finished with notes, and keeping food and drinks off the prop table may seem obvious, but they won’t happen without reminders. Nobody can be faulted for breaking rules that are not set out clearly for them. The rules need to be established by the stage manager before chaos reigns. Accord actors the respect they deserve to do their job by doing your job to the best of your ability. The Run Crew When possible, try to get the run crew into a run-through before tech begins. Some of the crew will never be able to see the show because all of their tasks will be backstage. This is important so that they have an idea of the concept of the whole It will also begin the building of camaraderie and teamwork found among tech crews of truly successful productions. Truly successful

productions are, in part, a result of a tech crew that is organized, works together, and remains calm in crises. 25 Source: http://www.doksinet By this time you will have divided up duties for you and your crew from preshow through post-show. You will have set who will sweep and mop the stage; who will set props, who will do light, sound, and headset checks; who will do scene changes; and any other detail that needs to be done by someone at each performance. Things will likely still be rough, but it is organization, anticipation, and practice that will lead you and your crew to a smoothly run show in the end. You may need to schedule a rehearsal -called a shift rehearsal- just for you and your crew for any scene changes or potential complicated parts in the show. Do this before the tech run If necessary, do it the day after too; or as many times as it takes all of you to be sure and comfortable with what you’re doing. Tech Run The tech run is a full run of a show using all

elements integrated at Q2Q except costumes; hopefully without stopping, but stopping if necessary. This is the first attempt to perform the show calling every cue and using every prop and set piece. At this point the actors should have absolutely everything they need to perform with, on, or around. Beginning from here on out every effort is made to keep the show running and fix any problems afterwards. Dress Rehearsal The last category of technical rehearsals is the dress rehearsal. Here all elements of the production are present except for the audience. Every effort is made to run the show without stops. There are normally three dress rehearsals Hair and makeup are not done until Second Dress. This is a good time to mention a few important things about costume respect. The costume designer will go over these rules with the actors, but you 26 Source: http://www.doksinet can help the actors uphold them. Actors must not eat, drink, or smoke while in costume Do not go outside the

theater in costume shoes(track dirt). Never let the audience see you in costume before a show. It is the actors’ responsibility to hang up each item of clothing when they remove it. Along with hair and makeup, photocall may take place at Second Dress. Photocall happens differently for every faculty director. This is when a photographer takes pictures of different scenes and “looks” of the show. Discuss the order or scenes with your director before you get to photocall. It will go faster and be much easier on you and your crew if you know what order to set things up in. You must inform your shift crew and light board operator in advance of this date to ensure that they will be there. Final Dress is usually an open dress rehearsal, meaning that you will very likely have several people in the audience. At this time you and your crew have worked out all the technical kinks in the show. * Performance You’ve made it! It’s opening night and the director has turned the show over to

you. It is now your privilege and responsibility to see that everything runs smoothly Preshow Preshow Checklist Since the tech run, you and your crew have been defining what needs to be done before, during, and after each performance. By now your ASM should have a finalized preshow checklist, a during-performance checklist, and a post-show checklist. The ASM 27 Source: http://www.doksinet is backstage for the show, so he must have a very good grasp on what needs to happen before and during the show, though you should have a copy of his lists. The Appendix includes a general checklist that may be adapted to your show. You will create another, more specific preshow list for your show. Depending on the size of your run crew, you need to create a check-in sheet for them as well as for the actors (see the Appendix). After each performance your crew will simply reverse what was done at preshow, again with you supervising. Make sure all actors and crew know their call times for the next

performance before they leave. Duties The stage manager has very few preshow duties other than supervision. It is in the show’s best interest for you to not get tied down by details. Remember that your ultimate responsibility is the smooth running of the entire production, and you cannot do this if you are spiking a chair or setting a book on stage. It is the stage manager’s responsibility to give actors time calls (not to be confused with call times!). Time calls alert the actors when it is half hour, 15, 5, and 1 minutes to places. One of your most important duties is to instill in yourself and your crew the ability to remain calm, especially during an emergency. Don’t fall into the trap of overreacting like many people involved in theater (Are theater people overdramatic? I never knew.) Solve problems quietly and get back on track “Think invisible and even 28 Source: http://www.doksinet if you aren’t, you’ll be less distracting. Don’t race through the lobby or

bang stage doors Stay calm, keep your voice low, and make as little fuss as you can.” 7 Actor Call Times Actor call times are the time each actor is supposed to arrive at the theater for performance and will depend on when they need to arrive to do their hair and makeup and get into costume. The costume designer and wardrobe supervisor will determine these times. You will want to coordinate actor call times with the costume crew to allow enough time for warm-ups and notes. Front of House (FOH) One of the hardest parts of a show is getting off to a smooth start. A wellorganized and coordinated pre-show, constant communication with the Front of House staff (the people in charge of taking tickets and closing the doors); these things will facilitate a smooth start to the show. Your House Manager (in charge of FOH) needs to know if there is an emergency backstage so she won’t close the doors before the show is ready to begin. And the stage manager needs to know if there is still a

line of twenty people waiting to get in at 7:59pm so the show is not begun before everyone is seated. It is best to start by coordinating your watches so 7:30pm is the same for both of you. Your House Manager will need your “OK” to open the doors, usually at 7:40 or 7:45pm. (All 7 Apperson, 67. 29 Source: http://www.doksinet of this assumes you have an 8pm GO.) Update each other at 10, 5, and 2 minutes to places. Calling the show To a stage manager, calling a show can be one of the most stressful, exhausting, exhilarating, and fulfilling experiences of the entire production process. A perfectly called show is something to be strove for and cherished. There are several points to remember when calling a show; no matter if it has 3 or 300 cues in it. -Pay Attention: Follow the script the entire time, even if you have 6 cues in an hour length play. There’s nothing worse than missing a cue due to simple distraction or talking over headset. Every stage manager must learn to

watch the stage as well as the script. If you are dutifully following every line of dialogue without looking at the stage, you may miss it when the light board operator accidentally hits the GO button and brings up the next cue with all the purple and green light in it. You must keep an eye on the stage even when you have 7 light cues, 3 sound cues, one fly cue, and 2 video cues in the next 30 seconds! It’s not as hard as it sounds; you will get used to this split vision in rehearsal while simultaneously staying on book and watching blocking. -Be Consistent: You must call your cues in the same way and at the same time for every show. This ensures that the crew will perform their tasks consistently as well -Be Concise: Whether you are giving a warning, standby, or cue, say it in as few words as possible to get your point across. Don’t make the mistake of carrying on; “Ben, are you ready to go with LQ32? It’s coming up.” You already made the mistake of saying 30 Source:

http://www.doksinet the word ‘go’ in your warning, without ever saying the word ‘warn’. And you took too long. The cue could have passed by now All you need say is “Warn LQ32” If there are numerous cues going at one time, you will find ways to consolidate all that you must say. See the sample promptbook in the Appendix. * Post-Show That’s it, the curtain lowers for the last time, and you never want to look at your script again! You’ve survived and now all you want is your own life back! All you have to do to get it is a little more work to close the show down. Unfortunately, the set, props, and costumes won’t simply disappear at midnight of closing night. The set must be struck, props returned, costumes cleaned and stored appropriately, and any stray business taken care of. For faculty shows, the supervision of this does not fall on the stage manager, but is organized and supervised by the TD and ATDs. In the case of student shows, the duties of strike are shared

among the director, stage manager, actors (usually), and especially anyone getting credit. Do not forget to submit budgets to the theater office. An important part of closing a show is showing your appreciation to the cast and crew for their hard work. Remember to say thank you to your crew individually before they go home. * Directorial Styles 31 Source: http://www.doksinet One of the main themes discussed in this Handbook is the individual style of different directors and how those styles affect the stage manager’s method of working on a show. Knowing how a director works from the outset can save time and frustration, as well as misunderstandings. When I began writing this document, I thought to interview each of the current directors in the Middlebury Theater Department. I would then represent their directing styles in this book to provide insight for stage managers. What I found is that it is extremely difficult to accurately and fairly represent another human being on

paper. So what follows is what they have written about themselves and their own directing styles. * Student Shows The information in this section is focused on the director, as well as the stage manager, of student productions. I include and focus on this information in a Stage Manager’s manual because a stage manager will benefit from knowing and participating in this planning, and will improve the production with the following knowledge. For student shows, be sure that advisors to the students getting credit have a rehearsal schedule. The primary advisor must see at least three rehearsals While it is the responsibility of those getting credit to make sure their advisors sit in on rehearsals throughout the process, the stage manager can help to keep the advisors up to date on rehearsal times and other pertinent information. This IS part of the process, and very important to the final product(and grade). 32 Source: http://www.doksinet Budgets GET BUDGETS CLEARED EARLY ON. Let

me say it again: GET BUDGETS CLEARED EARLY ON. One of the biggest nightmares of working on student shows is having to wait until tech week to buy all of your supplies, props, costumes, and set items because nobody jumped on taking care of the budget before the two weeks prior to opening. Budgets can’t be taken care of in one day, and there will likely be revisions in designs due to cost. This is primarily your director’s responsibility, or whoever is getting credit, but you will benefit by being involved in the process. I have included a budget form for student shows in the Appendix. Below is a basic list of what needs to be done to attain a budget number so your show can spend money. As with everything in this book, and especially with this Student Show section, all of this information is subject to change, so verify its accuracy with the department. 1. 2. 3. 4. 5. Meet with Allison, set, and lights designers. Meet with Lin, costume and makeup designers. Meet with Cheryl Burnham

for publicity deadlines (posters and programs) Get advisor signatures. Get budget number from Cheryl Burnham. Come into budget meetings with Allison, Lin, and advisors with your research already done. Don’t waste their time or yours Feel free to bring in as many questions as you need to, but try to do as much of the research and pricing beforehand. Before these meetings, call Allison, Jim, or Jake to see what we already have in stock. We have a lot of stored props and furniture available to be checked out to productions. So save everybody a lot of time by making those few calls. Bring your tech director to the second budget meeting -when you are finalizing the budget- so that they can have a better idea of 33 Source: http://www.doksinet what and how they’re building your set. The stage manager is there at this point too because they are often helping with the get-in and the building. Don’t buy anything until you get a budget number and a budget sheet. RECORD ALL TRANSACTIONS

AND SAVE ALL RECEIPTS. Get purchase order approval for buying in town. Talk to the theater department administrator for a list of stores in the town of Middlebury that we have accounts at. You must bring your student ID and the budget number to charge things in town. You cannot charge cigarettes anywhere in town, so pay cash and keep the receipt if you want to be reimbursed. But then, you should have a receipt for everything your show spends money on. Go to each others’ strike or at least have a conversation with the director and designer of the show before and after yours. Consider painting the floor similar colors, or better yet, you will cut costs if you can use the same paint. It is things like this to discuss that will save both shows time and money. Also discuss groundplans; are your shows at the same end of the theater? How can you combine resources and labor to make both shows better? Allow extra money in your budget for truck rental fees ($15/hour on campus); shipping

charges (unless you are sure of not having anything to ship); and a bit for tech week. You never know what will come up that you will need to spend an extra $10-20 on. Buildings and Grounds (B&G) will only let you rent their trucks to move things around campus-- not off campus. Your budget sheet must be turned into the Theater Department Administrator one week after your production closes. Plan to spend about $25 for posters and $25 for programs. You may spend a bit less for student shows These estimates will likely 34 Source: http://www.doksinet change with time, so be sure to price them when creating your budget. Don’t forget to include photography costs in budgets; both poster photography and cast photos. Publicity If programs have to be ready for opening night, and you’ve got to give Reprographics time to finish them, you should plan on turning them in to press on Monday 4/26 (see the sample production calendar I created in the section on production meetings and

calendars; also the Appendix). Work backwards on your production calendar for posters and programs. You should allow yourself time to incorporate and format all of the information going into it; this may mean bumping your personal deadline up a few days to accommodate this. This means that you will want to have all actor and playwright bios by Monday 4/19. Director’s Notes are not required in a program, though most directors choose to include them. I have included in the Appendix the correct departmental listings, as these are frequently incorrect in programs. It has recently been made an official policy of the Middlebury Theater department to include the playwright’s biography in the program. You must also include coming attractions; plays happening during the rest of the term. Be sure to proof and double proof, even ask someone else to look the poster and program over; a misspelling or misprint reflects badly on a production. You don’t need to have the image until about two

weeks before opening night. Of course, as I write this, Reprographics is going through major changes, so by the fall of 2000, this information could be totally obsolete. It then falls to you, stage manager 35 Source: http://www.doksinet extraordinaire, to seek out the status of publicity and programs in the early stages of the production process. See the Theater Administrator if your director is interested in taking publicity farther. For instance, the theater office has contacts of 48 more places, such as radio stations and newspapers, if you want to send out press releases. The deadline for this is three weeks prior to opening night. Box Office You will want your House Manager to be there an hour before the show is scheduled to begin; and they will need to stay until 30 minutes after it starts. If you are stage managing a faculty show, you will likely have very little contact with the box office. Probably the only thing in this area you will want to be aware of is the

complimentary ticket policy to be able to accurately inform the actors. For student shows you, your director, and whoever your FOH Manager is, will want to sit down with the box office the week before you open to go over the following information. All campus shows go on sale 10 college business days prior to opening night. Before that tenth day(the ‘on sale’ date),the box office needs to know your house capacity, how many director’s comps (usually %5-10 of house seats), and who your FOH manager is. The Hepburn Zoo usually seats about 50-65, though it depends heavily on your set. On opening day, you, your director, or the FOH Manager, will pick up the cash box (between 12-4pm) from the box office. At that time, along with the cash box, will be an envelope for each show with the unsold tickets. Each cast member is entitled to two 36 Source: http://www.doksinet comp (complimentary) tickets per run of a show, plus two more if its for family. (Please be honest about if its for

family or not. Your house is only so big, and it’s only $2) The week after your show closes, the box office will give you a breakdown of sales. Hepburn Zoo Get a schedule of all shows in the Hepburn Zoo from the Zoo Director at the beginning of the term. Be careful and courteous with Zoo tools; everybody has to use them. Gaffers tape is $10 per role, please do not waste it What is bought at the beginning of the term must last until the end of the term. White and black paint is now stock in the Zoo. (Say thank you to MIDD) Paint is expensive, so don’t waste it and only buy what you need. Use what’s in the Zoo first; paint does go bad When buying paint for any show, buy LATEX WATER SOLUBLE AND QUICK DRY CONTRACTOR GRADE. Ask for the cheap stuff, it will only need to look nice for a week. Even the cheap stuff is $20-25 per gallon (in 1999), and to paint the Zoo floor usually takes four gallons. A gallon of paint will cover 300 square feet, which equals about 1/4 of the Zoo floor!

Phinney’s (in town), besides wallpaper and carpet remnants, has paint and paint samples. Date all paint containers so we know when to throw them out. The second ATD, Hallie Zieselman, is a wonderful resource. She is around to help field emergencies in the Zoo, so call her when you have done everything you know how to do to fix the problem. You can also call the Zoo Technical Director(s) 37 Source: http://www.doksinet There is a new light board in the Zoo. It is in your best interest as a learned stage manager to familiarize yourself with the light and sound equipment in case of emergency. Know to point the speakers at the audience, and don’t hang lights from the sprinkler system. Costumes Lin Waters, Middlebury’s Costume Supervisor, gives the following information to students in the 505/705 class at the beginning of each semester. It is the bulk of information that is relevant to student directors, so it is quoted almost word for word. The information is accurate as of

Spring 1999. As with all information that is dated, please check it with the real people. After all, they will help you in person more than I can help you in this book. “Ms. Emerson and Ms Waters are happy to assist you in any way they can to costume your show. Please arrange to talk to them well in advance of your production dates. Borrowing Costumes from CFA or Wright You may borrow costumes for your production, subject to the conditions on the Costume Loan Agreement. All items you borrow must be properly signed out Do not borrow anything from the dressing rooms, storage areas, costumes shops, etc. without clearing it with Lin, Jule, or the students in charge of Wright, and signing the item out. 38 Source: http://www.doksinet Items borrowed from Wright must be returned to Wright and items borrowed from CFA must be returned to CFA. Keep in mind the limitations of our collection; for example, we have a very modest collection of contemporary clothing. You may do better borrowing

from your friends. We do have some resources outside the college Making Costumes The costume department regrets that they rarely has time or staff to make garments for student shows. They will try to assist with minor repairs or alterations of existing garments as time permits. But talk to them early if you have special needs If you would like to make costumes you may be able to use a sewing machine at Wright. You may want to hire a student or local seamstress to sew something special for your show. You can include the cost in your budget Talk to Lin for ideas Locating Costumes See Lin for a list of local and nearby sources of costumes. Any items you purchase with your 500-700 budget belongs to the department at the close of the production [this goes for set and prop items, too]. Keep track of your purchases and arrange to take them to Wright after they have been cleaned or laundered. Special effects on stage are often hard on costumes. If you plan any fights, blood, or food onstage

talk to Lin or Allison about ways to get the desired effect without damaging costumes -- or don’t plan to use borrowed costumes. Remember there is no local 1-day dry-cleaning service, and removal of fake blood and food stains is always chancy. 39 Source: http://www.doksinet If you borrow your friends’ clothing for a play, you, not the costume shop, are responsible for the items if anything should happen to them. Don’t forget that costumes are part of the strike; you must launder and/or dry-clean everything before returning it. You can use the costume department’s facilities to launder them; and use your budget number to dry-clean. You can check out clothes as early as you want in the process, but its good to store it in Wright; then its reserved and safe. Don’t try to borrow the weeks directly surrounding a departmental show. Account in budget for things like hosiery, dry cleaning. Makeup, blood, and food fights are all murder on clothes. Can you get it out between shows?

You may permanently ruin a garment. Plan for it! * Appendix 1. Sample Contact Sheet 2. Sample Production Calendar 3. Sample Weekly Rehearsal Schedule 4. Sample Rehearsal Notes 5. Sample Production Meeting Notes 6. Sample Prop List 8 7. Official Theater Department Listings(for programs) 8. Budget form 9. Sample Tech Week Rehearsal Schedule 9 10. Sample Prop Table 8 James Dougherty, Assistant Technical Director, Execution of Justice Prop List, 1998, Middlebury College, Middlebury. 9 Allison Rimmer, Tech Week Rehearsal Schedule, 1998, Middlebury College, Middlebury. 40 Source: http://www.doksinet Pre Q2Q/Tech Rehearsal Checklist 10 Abbreviated Pre Q2Q/Tech/Preshow Checklist Preshow Checklist 11 Sample Cast Performance Check-in Sample Promptbooks complete * multiple cues 16. Glossary 17. Groundplans 11. 12. 13. 14. 15. * 10 11 Allison Rimmer, Pre Q2Q/Tech Rehearsal Checklist, 1995, Middlebury College, Middlebury. Rimmer, Preshow Checklist, 1995. 41