Stage Management at WSU

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THEA 272: Stage Management 3 Credit Hours

Description: This course is designed to introduce and explore the art and practice of stage management. The student will study the basic functions of the stage manager in the pre-production, rehearsal and performance phases of the production process. Students will develop through practical exercises, specific skills and technique application in performing arts stage management with an emphasis on organization, documentation, and dissemination of information.

Texts:Dollar, Carissa. Stage Managers Do Make Coffee: A Handbook for Stage Managers, Available at http://www.mts.net/~skirzyk/SMscoffee.htm

Course Goals and Objectives:
1. Students will become better prepared through classroom study and production experience to work in the professional arena, pursue further studies or a career in teaching.
2. Students will obtain a practical and theoretical knowledge of Stage Management through instruction and production experience.
3. Students and faculty will engage in the discovery and development of new information and technologies and the refinement of existing knowledge and technologies through original, creative, experimental and scholarly work
4. Students will gain skills and knowledge that will enable them to engage and enrich their communities through the performing arts.

Course Level Learner Outcomes: Students successfully completing this class:
Utilize critical thinking skills in order to synthesize diverse concepts into practical Solutions to challenges of stage Management.
Demonstrate familiarity with the language and techniques used on stage and in theatrical production.
Demonstrate the skills needed to communicate information effectively and efficiently in both written and oral form.
Develop the skills to use the equipment and tools commonly used in Stage Management.
Develop leadership skills necessary to accomplish the work needed for stage management.
Perform hands on projects in a classroom, laboratory and production setting.
Work towards a more complete understanding of individual creative processes, styles and personal aesthetics as applied to stage management.
Develop the organizational patterns, skills, and knowledge essential to execute the stage manager’s essential duties in pre-production, rehearsal, and performance of theatrical productions.

STAGE MANAGEMENT MID TERM
STUDY GUIDE
From Class Notes and
Carissa Dollar’s
STAGE MANAGERS DO MAKE COFFEE

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

10 Golden Rules of Stage Management

1. Learn From Mistakes. No one is perfect. We all make mistakes as we practice our crafts. The best thing anyone can do is to analyze these situations and learn how to avoid making the same mistake again.
2. Don't Panic! Always remain calm, cool and collected. Never, Never yell. All Stage Managers should know the difference between raising their voices to be heard and yelling. If the Stage Manager loses it, everyone will panic.
3. Safety First! The cast shouldn't set foot on the stage unless you would walk on it barefoot. Inspect the set daily for potential problems. Are all stairs and platforms secure? Are all escapes adequately lit and glow taped? Do you know where the first aid kits and fire extinguishers are located? Who is certified in CPR and First Aid? The SM should be!
4. Plan & Think Ahead. What can be done to avoid problems? How can the Stage Managers make life easier for everyone?
5. There Are No Dumb Questions. It is better to ask and fell silly for a few seconds than to cause a disaster later.
6. Prioritize Tasks & Delegate Authority. One person can't do everything. Why do we have assistants if we don't use them?!
7. Early Is On Time. The SM should always be the first person in and the last person out of the theatre for a meeting or rehearsal. I always try to show up about 15 minutes before I really think I need to be there, just in case traffic is bad or any problems or delays occur.
8. Put Everything In Writing. In other words, be a communicator! Dated daily rehearsal notes aid in communication and help to avoid conflicts over when requests or changes were made. (Voice mail and email are also great forms of communication! Get a pager or cell phone so you are easy to reach at all times!)
9. Please & Thank You. Use these word everyday, especially when you are working with volunteers.
10. Stage Managers DO Make Coffee. They also do a million other menial tasks that are meant to make people happy and boost morale. Buy donuts, bake brownies, make sure birthdays are recognized, and hole-punch all paperwork. These little things are really appreciated by everyone.

Meeting the Director
If the Stage Manager and Director of a production have never worked together, it is advisable to have a preliminary meeting to discuss what is expected of the Stage Manager during the rehearsal process and how the Stage Manager prefers to run technical rehearsals. The goal of this meeting should be for the SM and Director to get to know one another and get a feel for how the other person likes to work. Some of the questions the Stage Manager might consider asking are:
Does the Director allow guests in the rehearsal area? For Dress Rehearsals?
At the first read through, would the Director like you to read the stage directions?
How long will the company be sitting at a table working with the text only? When they first get on their feet, how much rehearsal furniture will be necessary? When would the Director like to introduce rehearsal props to the company?
How heavy-handed should you be with tardy or absent cast members? Does the Director like to have a strict start time even if some performers are not present yet?
In a non-union production, does the Director like to have formal breaks called or should breaks “just happen?” If you will be calling the breaks, would the Director like to be warned a few minutes ahead of time?
For an Equity production, what break schedule does the Director prefer to follow? Equity Actors and Stage Managers should receive either a five minute break after every 55 minutes of work or a ten minute break after every 80 minutes of work. Dinner breaks must be 90 minutes unless the Equity members elect to take a shorter break.
Should you give blocking notes and call out props that the actors have forgotten to carry on?
Once the cast is on their feet rehearsing, should you call out any technical cues that effect the action on-stage? (Sound effects, blackouts, etc.)
Would the Director like for you to take line notes or simply prompt?
Should you prompt only if “Line” is called or anytime there is a break in the rhythm of the scene? Should the actors be allowed to paraphrase or should they be made to stick word for word to the text?
When is a good time for you to talk privately with the Director each day? It’s a good idea for the two of you to be able to touch base without any interruptions.
Discussing these topics with the Director will allow you to understand each others expectations and get off to a smooth start as a team. You will have a feel for the atmosphere the Director would like you to help create in the rehearsal space. The actors are also very likely to ask the Stage Management Team many of these same questions during the first week of rehearsal, so be prepared!

Preproduction
A great deal of the work which determines the success or failure of a production is done in the phase known as preproduction. The production process begins with the selection of the production and design teams and includes the analysis of the script, production meetings and auditions.
In many situations the SM isn’t brought on board until rehearsals begin. If you have the luxury of a preproduction week (one week is required on an Equity contract) there are many tasks you should accomplish that will make your job easier once rehearsals start.
After being selected as a member of the production staff, the Stage Manager’s first step should be to request a copy of the script. If it is at all possible, read it twice before the first production meeting.
First, you should read the play for pure enjoyment. Become familiar with the story and the characters. Try to visualize the play in your head as you read. Now walk away from the script for a little while and let things sink in.
Go back for your second reading prepared to play detective. You will need a blank pad of paper, a ruler and a pencil. Begin your analysis of the script by dividing the paper into columns reading, from left to right:
Act/Scene/Page
Set
Lighting
Costumes/Makeup
Props
Sound
Special Effects.
Slowly and meticulously go through the script making notes of each clue that you find which relates to any technical aspect of the production. Be sure to read both the dialogue and the stage directions as clues could be hidden anywhere.
Include the Act/Scene/Page column so that you can quickly locate things in the script. These notes will be helpful in planning for rehearsals and can also be invaluable in production meetings. You might even want to make copies to share with the director and design teams. Your analysis will probably look something like this:

Now you are prepared to conduct your first production meeting. The Stage Manager should make sure that everyone gets a chance to discuss his or her ideas and problems in each production meeting. The first production meeting, however, traditionally revolves around the director’s ideas about the play and is often called the concept meeting. The Stage Manager may not be involved in this initial meeting because it often takes place before the SM's contract begins.
The director will usually present his or her research and thoughts about the play at the concept meeting. Afterwards, the designers and directors will brainstorm about how they can best bring the director’s vision to life on stage. This discussion will often start out very abstract and move into more concrete decisions. Questions and problems addressed in production meetings will become more specific as the production process continues.
All of these discussions are very important to the Stage Manager’s understanding of the play. Take very specific notes about everything that is discussed in each production meeting, type and distribute them to everyone who attended the meeting and anyone else affected by the notes. Your detailed notes insure that no one forgets which decisions were made and what deadlines were agreed upon.

Auditions
If you are doing pre-production work on a show, you may be asked to run auditions. If this is the case, you should be responsible for keeping the auditions organized and running on schedule. Running auditions gives you an advance look at the environment you will be working in. You will get to see the Director at work and meet the actors who may be joining the cast.
Auditions give the performers their first impression of the production and of the stage management team. Organization and compassion are very important at this time in the production process.
A great first step in preparing for auditions is to find out if the director will want headshots taken or if the auditions will be videotaped. If so, will the director need you or an ASM to run a video camera or take Polaroid's? You might need to lay a spike mark for the auditioners to stand on while they read. This will help them to find the best light and ensure that they are in the proper area for the video camera operator to film them.
You will need to prepare tables and chairs for the artistic staff in the audition room. You should also make sure that the lighting is adequate. Is the temperature of the room comfortable? Should you provide coffee or a pitcher of water and some cups for the staff?
Prepare the area where the auditioners will be asked to wait. Keep in mind that the auditions will be the first impression you and the production company will make on many of the performers. Create a warm, friendly environment for everyone involved.
Make sure there are plenty of seats. Have several copies of the script available for perusal. Copy lots of audition forms and have pencils and paperclips on hand. Do you need to provide nametags? Where are the closest restrooms and water fountain? Is there a mirror available for last minute touch ups? Is there a public phone nearby?
Post a list of all the characters and a short description of each one. Post the rehearsal schedule or at least the date of the first rehearsal if a complete schedule is not available. Be sure to include the run dates of the production as a part of the schedule. Rule 44 of the agreement between AEA and LORT (League of Resident Theatres) requires that the run dates of the production be posted at all auditions.
Many times the Stage Manager will be asked to help call the “yes” and “no” piles for Callbacks or after the casting decisions have been made. Do not give out any information about the other auditioners. Be sure to thank the “no’s” for auditioning.
The show is now cast and the technical departments are hard at work on building and buying scenery, props and costumes. The foundation of the production is in place. The Stage Manager must now begin final preparations for the rehearsal period.

The Production Book
Now that the production process is in full swing your pile of paperwork should be growing. At this point the Stage Manager will begin to assemble the Production Book, also known as the Prompt Book or Production Bible.
Buy a large 3-ring binder and several insertable index tabs. Include your copy of the script, all production meeting notes and any of the charts or script analysis that you have produced in this binder. A copy of every piece of paperwork regarding the technical and artistic operation of the production should be kept in this book.
The sections which I decide to create in my production book depend on the complexity of the production. The following list illustrates how I would normally organize a production book for a two act musical.
To Do
Cast List
Contact Sheet
Rehearsal Schedule
Attendance Sheet
Conflict Calendar
Emergency Information
Blocking Key
Preshow
Act I
Intermission
Act II
Post Show
Cue Sheets
Rehearsal Reports
Performance Log
Performance Reports
Publicity
Program Information
Scenery
Lighting
Costumes, Makeup & Hair
Properties
Sound
My method of assembling a Production Book changed a lot when I stage managed Into the Woods at Indianapolis Civic Theatre. In the past, I had always called all my shows from the text. Towards the beginning of the rehearsal process for Into the Woods, I decided that this time it would be necessary to combine the script and score due to the complexity of both the music and the technical effects for this production.
Because I had never called a complete show from the score before, I was concerned at first about being able to read my pencil notations if they were written on the score pages. It seemed to me that my notation would be lost in the music. My normal methods of putting together a cueing script just didn’t seem to work well with a score.
Every Stage Manager knows that the director and designers will want to change cues all the way up to opening night, so all cueing texts must be assembled in a manner which will allow the SM to quickly and easily make changes. I thought that the Stagecraft Mailing List could be a good resource to obtain some advice from SM’s who had called shows from a score before, so I posted a query. In just three days I received more than 25 responses from all over the US and Canada.
One of the first things that you should consider doing before you spend too much time on preparing what will become your cueing text is talk to the director and your designers. Will the director use measure numbers to communicate blocking notes? This production was my first experience with a director who gave notation in this manner. It works great and is so much easier to take notation!
Another important question you should ask is how the show will be cued. Do the designers expect to set most of their cues off of the words, music or action? Asking these questions will help you decide if you should use the script, score or both. Your decision also depends a great deal on which method you are comfortable using. After all, you are the person who must ultimately be able to use and understand the production book.
In my efforts to combine the script and score for Into the Woods, I came up with a few new tricks that worked very well for me. I also learned a great deal through the responses I received over the mailing list regarding assembling a calling text.
For the longest time, I have preferred to three-hole-punch my script and score on the right-hand side so that the pages lay to the left in my production book. This makes the blank page opposite easier to write on as I am right-handed. Before rehearsals even start, I will have analyzed the script and put light pencil marks in the margins where I anticipate cues. As the show is blocked, the Director will often mention potential scenic and lighting cues. I will put light pencil marks and notes where these cues may occur as well. Sometimes, instead of pencil marks, I will use Post-it’s or Post-it tape until I am sure of the placement or functions of the cues. In the past, the final cues have always been penciled directly into my script using a sideways “L” to indicate the placement. On the facing page, I usually penciled in specific notes detailing the function of each cue.
When taking notes, I will divide the blank pages into three sections. The top of the page is a sketch or reduced blueprint of the floor plan. The left-hand column will be used for detailed technical notes as it is closest to the script/score pages. The right-hand column is used for blocking notation.
In the technical column, I want my notes to be easy to move or change as the artistic staff makes changes on me. Because of this, I sometimes use my computer to print out my specific notes regarding each cue on plain paper. I can then cut the notes apart and use a Post-it glue stick to attach them to the blank page opposite the text. The Post-it glue sticks turn regular paper into homemade Post-it notes! It works great and I can move them around easily. Before we begin tech week, I will edit these same notes down to serve as my deck and rail/fly cue sheets.
For Into the Woods, I ended up combining the score with several script pages since a lot of the dialogue is not included in the score. I also pasted in some of the lines before the songs at the top of the sheet music. On the script pages I number the blocking moves as “1,” “2,” “3,” etc. I use the measure numbers to indicate the order of moves of the pages opposite the score. I highly recommend using the measure numbers in your blocking notation when working on a musical. It makes everything so much more specific and looks a lot less cluttered on the page.
Along the right hand edge of the blank page I will stick blue Post-it Tape Flags that indicate where a fast costume change takes place, the character(s) involved and which costume they will be changing into. For example, in Into the Woods, the Narrator and Mysterious Man were played by the same actor so he had several fast changes. A shorthand note for one of his changes might read “NA to MM DR.” When the costume crew arrives, I might add a note regarding who is assigned to assist the actor with the change, such as w/Judy.”
As for cueing, I am now writing the cue numbers on Post-it Tape Flags and Avery Color Coding Labels (I call them Garage Sale Dots) with the word, phrase or note I should call on indicated. Since I color code the different departments, it is not always necessary for me to indicate the type of cue before the number on the script pages. When entering the detailed notes on the facing pages, however, I use a shorthand system to indicate the departments. (LQ20 stands for Light Cue twenty, Spot 1 means Spotlight Cue one, SQ F indicates Sound Cue F, etc.)
For Into the Woods, I used yellow flags for all Standby’s and bright pink flags for deck/rail/revolve Go’s. I assigned neon green dots to sound cues, neon orange to light cues and neon red to spot cues. This system works pretty well because the cues really stand out on the page. I was also able to quickly move the cues around during tech without erasing. Anyone who has worked as a Stage Manager knows what a wonderful feeling that was! No more erasing holes in my script! Another wonderful bonus of this system is that I can read the script through the Tape Flags.
Most importantly, remember that whatever you feel is easiest to understand is the best method for you. Remember that if the SM gets hit by a bus on the way to the theatre, someone else must be able to pick up the calling text and understand how it is organized.
I know this may seem a bit overboard to some people, but it really does produce a clean and easy to read cueing text. I was extremely confident that any SM would have been able to walk into the booth and understand how to call the show from this book. Probably more confident than I had ever been with any other production book I had assembled at that point.
Some of the many office supplies I have found really useful to have on hand when preparing a production book are Post-it Tape Flags, neon garage sale dots, Post-It Correction and Cover-up Tape, page protectors, dry erase pens, grease pencils or permanent markers and the smallest size Post-it notes that you can find. I also always keep a big cube of Post-it’s at my station to make notes about any errors made in the running of the show. I slap them into the script as a reminder for the next rehearsal or performance. They catch my attention quite well.
I received several other really good suggestions over the mailing list. Some SM’s put their script/score pages into page protectors and then write on them with overhead projector pens. Others warned that the Vis-à-Vis type markers smear too easily and suggested using permanent markers which can be removed with rubbing alcohol. (I agree with the person who said it would be too tempting to use a bottle of vodka instead!) I think the best suggestion along this line was to use grease pencils. They are harder to smudge but not too hard to clean off. I thought this was a really good idea, but it also sounded pretty expensive. I personally didn’t want to invest that much money in assembling my book for a show that only runs for three weeks. I do definitely see the advantages of this method for a long running production, though.
Many SM’s swear by the little neon garage sale dots that I now use to mark light and sound cues. Some SM’s prefer to place the dots directly on the page to indicate a cue, while others use page protectors with them so that they are even easier to move around. One word of caution, if you use them directly on the script page they really should be “de-stickified” first by pressing them on your jeans! Otherwise they can tear up the script pages if you try to move them around. Again, personal preference dictates whether you will want to use different colors for your warnings, standbys and go’s or color code by department.
Now that I have called a few shows using this method, I can see why so many SM’s were raving about the benefits of neon dots! I found that it made it much, much easier for me to keep my head out of my book and my eyes on the stage at all times. Instead of actually following the book, the cues can be read at a peripheral glance. I recommend picking a blue gel for your run light. Blue gels cause the neon dots to really glow. One other word of caution, though. The yellow and green garage sale dots look the same color under blue running lights.
I really do recommend that anyone who hasn’t called a show from a script assembled with neon dots consider trying this method. Especially if you often get notes from your designers to keep your head out of your book. It certainly broke my bad habit.
The Post-it Correction & Cover-up Tape is also very useful. It looks like a roll of tape but is really a roll of Post-it’s. It comes in three different sizes, up to one inch in width. You can tear off as much or as little as you need. (A word of advice: I had a hard time finding this product in my area. You will most likely have to buy it at an office supply store. When I tried our local office supply store I still couldn’t find it. I stood and stared at both the tape section and the Post-it notes section for several minutes before I gave up and asked an employee. He didn’t know what it was, but I eventually found it with the typewriter correction tape.)
Another really good suggestion I received was to type the cue notes into a word processing program, much like I am doing now. After the cues have been printed out, have the pages photocopied onto clear acetate with a sticky back. Then the notes may be cut apart and stuck into the production book at the appropriate points. (OK, so my method with the Post-it glue stick takes a little longer, but it is also a lot cheaper!)
Always keep in mind that there are as many methods of assembling Production Books as there are Stage Managers. Your Production Book will continue to grow each day of the rehearsal period. As the rehearsal process evolves, you will find a format that makes sense and works well for you.
Whichever system works best for you is the one that you should use. As long as you have documented everything clearly and included keys to any shorthand you use, another Stage Manager should be able to pick up your book and easily understand it if necessary.

“The Comfort Zone”
On the Stage Manager’s opening night, there are no costumes, no cues to call and usually no applause. Opening night for the Stage Manager is actually the first day of rehearsal. The mood that is set for this first rehearsal will determine the productivity, creativity and general atmosphere of every rehearsal which follows. It is the duty of the Stage Manager to create an atmosphere in which anything is possible. I often refer to this atmosphere as “The Comfort Zone.”
The two most important words of advice for a SM about to begin rehearsal for any production are, “Be prepared.” The best way to gain the trust of any company is to be able to quickly and efficiently deal with any situation which arises. Actors who trust their SM will also listen to their SM.
A thoroughly stocked Kit is the most useful tool a SM can have. When a company member is comfortable and confident in asking the SM for even the smallest item, The Comfort Zone has started to form.
There is one other vital note I’d like to share about The Comfort Zone. You should be willing to do anything to support your cast and crew. The Stage Manager doesn’t blame crew members for mistakes made in a performance. Instead, she takes responsibility for all mistakes made in the running of a show by ensuring that they will be corrected.
“I know what happened and it will be corrected,” is a phrase Stage Manager’s use a lot during tech week. A lengthy explanation of why something went wrong isn’t necessary unless the director/designer/etc. asks for a detailed description of what caused the problem to occur.
You should also be prepared to do things like hold an inhaler for a winded dancer who is about to come off stage or simply be prepared to hand off props even if an actor isn’t in a hurry. I once spent a day minding a towel and bucket for a nauseous dancer who was determined to perform. Thank goodness she never needed to use it, but she felt a little better just knowing I was prepared to care for her if she did get sick.
Another good example of how I helped to create and maintain the Comfort Zone would be a situation that occurred during the Phoenix Theatre's production of Company.
One of our actors was epileptic and came to the director and myself and told us he was on new medications and was afraid he might have a seizure during rehearsal before his meds were regulated. He requested that we have a discussion with the cast about what would be likely to happen if he had a seizure and how to react if it did occur. I reminded him that I am certified by the Red Cross for both first aid and CPR. I assured him that I knew what to do and that we would talk with the rest of the company. The next day we had a short discussion during rehearsal to fill everyone else in on how to react if he did have a seizure.
I'm happy to say that the actor never had a seizure during the rehearsal process. I made sure to stress to him how glad I was that he had shared this information with us. I told him that about two and a half years prior to this, when I was stage managing a production of Peter Pan, a different actor hadn't informed anyone that he was diabetic and occasionally had seizures. He had a seizure during a performance and fell coming down a set of escape stairs. The crew wasn't prepared for this and didn't know how they could best help him. Unfortunately, they stuck something in his mouth to keep him from swallowing his tongue. THIS IS AN OLD WIVE'S TALE! IT IF PHYSICALLY IMPOSSIBLE TO SWALLOW YOUR OWN TONGUE! DO NOT DO THIS! All you will accomplish is cutting up the inside of the person's mouth and possibly getting yourself bit.
Another element of the Comfort Zone is keeping the rehearsal space a place that is "safe" for the cast to experiment in as the show grows and evolves. Most professional theatres I have worked in have a policy that no visitors will be allowed during rehearsals. It's important that the Stage Manager have the authority and ability to uphold such policies.