Stage Management is learned through experience and study.The stage manager is one of the most important players.The artistic integrity of the show is maintained through the stage manager's position, which starts months before rehearsal and continues throughout the run.Do you have what it takes?
Step 1: The director and producer are interested in meeting you.
Chances are at least one of these two will become your new best friend.Start by asking what those are, because they definitely have expectations for the production.Do they want to do their own work?Some directors like to make their own decisions.How do they want the rehearsals to go?Is there any specific guidelines you should be aware of?Establish a routine where you two or three can check-in with each other.
Step 2: You should be an organizational machine.
You will need to start scheduling and coordinating months before rehearsals begin.A good stage manager can take in all of the scheduling needs from the director.It is reasonable to accommodate everyone's needs in a timely manner.The stage manager is a miracle worker.You have to come up with the following: Contact sheet, Rehearsal schedule, Email lists, Conflict calendar, Production calendar Daily Reports, Set Design communicated to all staff, Furniture and Set decoration list, Costume plot, and set dates for production.This is just the paperwork before the run.
Step 3: The technical director is here.
He or she will probably give you a set of keys.What else will you be able to do?Discuss with them what the biggest obstacles in the show are and what you should know about the set up of that specific theatre.Take a walk around the theatre to get a feel for emergency exits, trash cans, and more.The easier your job will be, the quicker you get to know this theatre.
Step 4: Stage Manager kit should be prepared.
You need to be prepared for anything since you're basically Anne Sullivan and the show is Helen Keller.The director won't be the one who turns to when things go wrong.You should stock your kit with everything you need.There are a few ideas to get started.
Step 5: Prepare a book.
The script is in a binder.The hole should be punched on the right.You can place a blocking sheet on the left side of the binder if you want, but you have to punch a hole in the right side.Add the ground plan of your set as well.You don't have to do it like this, but you should.A book with everything you need will keep you sane.You should include post-it notes to make it easier to find.There are blocking sheet templates online.You should have a template for everything.
Step 6: The back of your hand is where the script is located.
This show is for you.When a prop enters a line too late and the spot is 6 inches to the right, you need to know.It makes everything simpler if you know it so well.If you know the script, you can: Generate a scene breakdown, make a prop plot, and know all costume needs.
Step 7: Send your crew.
Line up the crew that will be working the show and let them know what they need to do.The sooner you know you can depend on other people, the quicker you will be able to relax.The assistant stage manager will be your right hand.They'll get the job done when you can't be in two places at the same time.You will need a crew for lights, sound, props, and working backstage.How many people you need depends on the size of your production.
Step 8: Track all of that.
You need to be Rainman after a rehearsal.The director gave a blocking note around 7:45.No worries, you have written it down.You will be taking notes on blocking, choreography, length of scenes, notes for rehearsal report, lighting and sound cues, et cetera.When the entire show hinges on something you have written down on page 47 of your book, it seems like overkill.It's important that you have a good system of shorthand.If you ever get sick, it should be legible.The standard USL, DSR system is not consistent for blocking and choreography patterns.You will not be scrambling 32 counts behind.
Step 9: Be the timekeeper.
Every show has a person who is notorious for being late.It's your job to call them up and make sure they're alive and well so you can chew them out for being late.You get the show on the road when everyone is ready.You keep an eye on the clock when the city wants you out of the building.These things will continue for hours if not stopped.You're calling breaks, too, and making sure one person with authority doesn't hog all the rehearsal time.You keep things going.You are the timekeeper.
Step 10: It's possible that you're on book.
If you don't work a dance show, you'll be the one on book for some theatres.When an actor drops a line, you call it out.Constantly being focused and following along is what you need to do.If an actor doesn't know a line and you're not there to pick up the slack, you will end up being behind schedule."On book" means you have the script in front of you.Just because everyone is off book doesn't mean they should be, because you're the one ready with the script.The actors drop lines all the time.
Step 11: Pull props during a rehearsal.
You will need to coordinate something for rehearsals with your props master or mistress.They may or may not be the real props, but you need something similar to what the actors will be working with when the show opens.As rehearsals progress, you'll need to provide something shortly thereafter.You knew the book was coming, right?
Step 12: The stage must be spiked.
You need to have the stage spiked if you're lucky enough to be working in the theatre and the show is going up in.That means putting glow tape on the stage.What colors would you like to use?The upstage side of every piece needs to be spiked.You don't want tape in front of every piece.The audience may notice that.
Step 13: Let the team know that something isn't possible.
When your director wants you to exit stage right, make a quick change, and enter stage left fifteen seconds later, there will probably be a time.When your director tries to design a hazard symbol from memory and it turns out to be a flower, there will be other times.You have to chime in for the good of the show to kill her display of obliviousness.Speak up if something isn't possible.It's not your place to offer artistic vision.When the director asks, your opinions should come into play.Logistics is letting them what will work and what won't, not what vision the director should have.
Step 14: It's up to the person to delegate.
It's one heck of an understatement to say that your hands are going to be very full.You need to delegate because of this.That's what your crew is for.The stage manager might have an assistant like the ASM.Call the shots.The show needs to go on and you can't do it all on your own.To make sure the rehearsal space is safe is an easy job to delegate.Make sure all is kosher after rehearsal by sweeping the stage and mopping it.If you're renting the space.The stage should be reset between scenes.If you or someone on your crew resets the stage instead of watching the actors fumbling with things they shouldn't be, it will be quicker.Ready to pitch in and be hands on.There is no such thing as a job that isn't mine.This shows that you are willing to do grunt work in order to ensure your job.
Step 15: Send the report to the person who wrote it.
You need to send out a rehearsal report after each rehearsal.You have a template for that?Do you know if it's in your prompt book?Cool.Discuss any issues that will be solved tomorrow, timing, things that got done, notes for each department, and so on.You made a handy email list six months ago.Replacement rehearsals have to be held if one of your actors ends up in the ER.You'll make do with this, but it will mess up your schedule.
Step 16: The production meetings need to keep going.
You have to keep them on the agenda too.It requires discussing budget, safety, publicity, allocating time for each department to chime in, and making sure the calendar is out for the next meeting.Depending on how well everyone gets along, you should probably take a few notes on this as well.Some departments will be absent.Your job is to communicate clearly and effectively what is happening in the rehearsal hall to all of the production departments.You don't want anything to be a surprise during tech week.All departments should be aware of what is happening.There will be a company meeting at the beginning of tech week.When you have last minute questions or concerns, you should talk about it.If each department wants to add final notes, run over the procedures and policies of the theatre.
Step 17: Do even more paperwork.
Kinda like a joke, right?You have to make a run sheet for your crew, tech schedule, blocking script, prompt script and a calling script.The bad news?That's all for paperwork.You fill out stuff every day.A run sheet is a description of what the crew has to do.It should be simple yet still recognizable by anyone who has never seen the show before.You write the cues, what pieces move and where.It's all over.You need a calling script for yourself because you're calling the cues for sound, light, fly, motor, and stage.
Step 18: Everyone is safe and ready if you make sure everything is.
The actors and crew are present.Call them if not.It's great if that is the case.The deck needs to be swept and mopped to make sure everything is ready for the top of the show.People will most likely come to you if there are any problems.It won't stay the same every night.
Step 19: The call times are listed.
Even though you're out of rehearsals, you are still the clock.Keep everyone posted on the clock.Let them know when the house is open.Let them know that it's 20 to places.10 to places.5 stops to places.Finally, places.Make sure they say thank you.Before you think they've heard you.You will probably be letting everyone know when the stage is open and closed for things like flying and vocal warm ups.When something happens, you alert everyone.
Step 20: You should go through headset protocol.
It won't be that big of a deal if you have a group of veterans.The odds of being seasoned aren't great.They could brush up on headset protocol.You will say "warning" and the cue number and who it affects, for example."Thank you, warning" should be said by the affected person.You will say "standby" after a warning.The affected person should say "lights" or "stage left"There is no more talking when a backup is called.You call "go" when it's time for the cue.There is no response to this.Only you can call the final go.Headset banter is part of the job.It's a great part.Know when it's appropriate and when not.
Step 21: The house manager is needed to work with.
You have to fill out a front of house info sheet every night about ticket sales and box office issues.A system will be worked out by you and your house manager.For their sake, keep your routine constant.They can predict how things will work with you if you show up at the same time each night.When to open the house and when to start the show should be co-ordinated with the front of house manager.Is it possible to hold the show by 5 minutes because of the line at the box office?People can't find parking.Is it raining?If anything out of the ordinary is happening out front, they'll let you know.
Step 22: Let the show know you're calling.
We talked about the headset protocol.That's what the show will be called.Your team will assemble when you head up to the booth at 5 to places.The audience is ready, the headsets are on, and you're ready to call cue 1.The curtains are open.
Step 23: A show report can be typed.
This is used to tell the production team how it went, the length of the show, and any problems that need to be fixed before the next show.You'll be able to do it with one eye closed and an arm tied behind your back if you're lucky.
Step 24: Work with SMs who have experience.
It's not a substitute for working with a good SM or two, if you think years of being a techie is adequate preparation or taking a few classes in high school or college.SMs have to have people skills, technical skills and be organized as hell.This position requires a very precise type of person.While a good SM can locate a screwdriver in seconds and get to working on a breaking set piece, they can also coordinate with directors and actors and predict their problems.A good SM has more than one type of intelligence.
Step 25: Be a good leader.
Fine line, huh?The cast and crew listen to you and respect you if you are likeable and maintain your authority.If you aren't respected as an authority, no one will want to work with you again, and you cannot ensure the safety of the cast and crew.You are an important part of the show.Chaos will occur if you don't lead.Control can be established from the very beginning.Stage managers should be respected.Don't be afraid of being firm when you need to be, it's not necessary to scare people into listening to you.Expect to be respected at the beginning of the process and around you as well.
Step 26: Have the director's best interests at heart.
Maintaining the artistic and technical integrity of the show is important to you.SMs are responsible for maintaining the director's vision during the performances of the show, whether there are 5 or 500.You need to rein them in if things change.It's still your job even if you disagree.Does the director want the scene to be so dim that you can't see the actors?Well...okay.Yes.Even if the director doesn't show up, it's going to work for the rest of the run.
Step 27: Don't be angry. Stay calm.
It's absolutely imperative that you stay calm if you don't do anything else on this page.Everyone else will lose their cool if you lose your cool.No one will die, the show will go on.Stay calm and set a good example.The entire crew will tackle the problem.Stay calm, let's say it one more time.You have a lot of things on your plate.You do.You will not get the praise and admiration you deserve.People won't notice your skills.They will still look to you when something goes wrong.Take a break, take a step back, and deal.You have this.Set the tone for a calm and professional atmosphere at rehearsals.Play quiet music, keep loud talk to a minimum and give the director a few moments alone to think when he walks into the theater.You won't have to ask for quiet if you start with a calm atmosphere.
Step 28: Know your crew so you can anticipate problems.
There will be a day when your sister is the only one running.It doesn't take a genius to know that when cue 10 rolls around, she's going to need help rolling on the horse.There are things like that that you need to provide a solution for.Some people are undependable and others are not getting along.Who is better at untangling pom poms or with a saw?Who would you trust with your car if you couldn't pay attention for five minutes straight?Things like that.You are responsible for the safety of the cast and crew in the event of a fire alarm.When there are feasible emergency situations, review the theatre's policies.
Step 29: You can be a drill sergeant and cheerleader.
Is that firm but likeable?That also deserves reiteration.You need to keep everyone on task and on time and let them know when they're not pulling their weight, but you also have to cheer on the show and be a voice of positivity.Everyone else is stressed out.It's hell week and you need to be positive.Directors and actors are wondering if their show will come together and if they will make fools of themselves.Cheer them on if you know that.If you walk into the theatre with a smile, you will have a good attitude.
Step 30: If you make a mistake, apologize and keep going.
You will make a mistake if you do a billion trillion things at once.You will make mistakes.Multiple mistakes, hopefully not the same mistake twice.Apologize and move on.Don't throw a fit.Everyone makes mistakes.It's a tough job.You will learn from it.It's in the past now.Everyone in the theatre has an idea of how things should work.They all think differently.Do what feels right to you, since there's no use in accommodating them all.Ignore their suggestions if they're not better.To find what feels right, you'll need to mess up.That's great!Pick up where you left off.The show depends on something.