stage managerâ€™s manual

Copyright DramaShare 2009 For use with permission only

DramaShare

STAGE MANAGER’S

MANUAL


INTRODUCTION

What in the world is a stage manager?

Stage manager is a term which is often misunderstood. A stage manager is much more than the person in charge of scenery changes, and much, much, more than the person who keeps the promptbook (see the NOV 2008 issue of DramaScene for more on the book). However, having someone to serve as a stage manager is almost man-datory. The Director is the person in charge, yes, but if you think about the Director as the officer in charge, then the Stage Manager is the sergeant who makes it all work.

The job of stage manager is one of the most time consuming and important posi-tions in drama, either in church or in the theatre. The stage manager hears all the com-plaints, has to deal with all the problems, receives the blame for everything that goes wrong, and typically receives little of the glory. The stage manager is frequently forgot-ten, until something goes wrong, then everybody is looking for “you.” The stage man-ager will have generally begun work long before rehearsals ever begin, and more than likely, will be the last person out of the theatre on closing night. Any volunteers?

The stage manager is the lifeline and the communications hub for the entire produc-tion team, cast and crew. Organization is the key to success and the success of the production. This is a guideline for assisting you in your job of stage manager. These are only guides and are not intended to be "rules" for stage-managing. If you have a way of working that is more practical for you, by all means use it. Remember, keep track and make lists, and most importantly, “If you don’t write it down, it didn’t happen,” and worse yet, more than likely won’t happen. And.. use pencils because you'll be erasing a lot. A good stage manager always has pen-cils, usually in her hair.

CHARACTERISTICS OF A GOOD STAGE MANAGER

Who in the world wants to be a stage manager? 1. First and foremost, a person willing to accept responsibility. Although the Director is in charge, a very large amount of the responsibility for the smooth running of the re-hearsal process and the production run is on the shoulders of the stage manager. And trust me, delegate. Have able assistants, train them and use them. You cannot be everywhere that everyone wants or “needs” you to be. Remember, only do, what


only you can do. Not everything. 2. A person who is organized, efficient, and observant. There will be, or should be pa-perwork, and the stage manager must always have it ready. There will be scripts, and notices, and forms, the show calendar, etc. Props will need to located and gathered, rehearsals and meetings organized, and believe me, something is always about to happen, so the stage manager must be ready. Problems are always imminent, and the stage manager must recognize them, address them, adapt to the necessary changes quickly, and overcome them. 3. A person who can maintain a professional attitude at all times. Under stress, it must never get personal. The stage manager is going to be in on to many discussions that are not for the general cast and crew. Stage managers hear all the negatives and the positives, and all the “we may have to do’s.” Some are often just thoughts, or may be preparing the stage manager for alternative solutions to personnel problems or the like. The stage manager knows when to, and will keep it to themselves. 4. A person who is dependable. Stage managers always take responsibility for the production, they are always early for any call, always ready for the unexpected, and always ready for what is to happen next. 5. A person who will keep their cool, and try their dead level best to never lose their temper, especially in front of the cast. Stage managers remember to always add "please" and "thank-you" to everything you do and say.

WHAT HAPPENS AND WHEN - A CHECKLIST OF TASKS

1. Script - The first responsibility upon receiving a stage managing assignment is to obtain a copy of the script. Read and learn all the cues and technical aspects of it. The rest will be determined with the Director and the Technical Director. As the rehearsals, etc, progress there will come changes. I suggest using the color coding scheme for changes, keeping it the same in the Prompt Book. Typically the color order per change is, blue, pink, yellow, green, goldenrod, salmon, cherry (red), buff, and tan. So if you have a pink page in your script, and every-one else has green, you know you don’t have the latest changes. I like to do this rather than have everyone say, “Let’s just mark it out and make the change.” Give out a new change color to cast and technical crew, because the technical crew probably didn’t pay attention to the cast’s change of, say, wording, which may or may not change the next technical cue.

2. Prompt Book - The prompt book is the daily guide to the production. Many churches don’t use these, which I believe is a mistake. I typically use a three ring loose leaf notebook, with all the pages separated, not bound together. If you can, I would have the script double spaced, if possible, and have wide margins, for notes. I usually have a regular script there as well, to be able to relate to the


proper page the cast is on. All paperwork concerning the production should be kept here. The prompt book holds all blocking notes, cueing, and paperwork for your production. Many versions of prompt books exist and you should use what seems most comfortable to you. Separate pages for blocking that can be removed once you get into technical rehearsals are suggested with a simple floor plan on each page. Another option is to copy a separate script that will be used for cues. The promptbook also contains all contact info, calendar conflicts, etc. Again, see the NOV 2008 issue of DramaScene for specifics on the book.

3. Calendar - Keep a copy of the production calendar. You will more than likely be in on the creation of that calendar, but it is mandatory to have for you to be able to do much of your job. Keep it up to date and highlight any special dates or changes. Special dates may include dates like, when to rent the costumes, or when to have royalties paid, or production photos, or when to have bios in for the program, and program deadlines, etc.

4. Assisting the Director in getting ready for auditions:

Copy audition forms, (if you use them).

Help to prepare scripts for cast, and technical crew.

Work with the director to determine how they would like to run auditions, and your part in them.

Post any audition notices from the director.

5. Create preliminary lists (proposed, or beginning databases)

Preliminary prop list (a separate list, not the back of the script)

Preliminary light cue list (Mostly what may be used).

Preliminary costume/prop list.

Preliminary sound cue list.

Preliminary rehearsal prop list.

Distribute those lists to the appropriate people.

6. Begin the contact sheet.

Create a contact list using names, duties, or character, and phone numbers, e-


mail addresses, etc. Notify everyone of how you will contact them, and how often. It is a good idea to contact people on a regular basis, even if there is nothing new to add. I like to use the color sheet idea from script changes for notices (the current schedule is blue, or whatever).

7. Prepare the Callboard for information that will be posted throughout the production process. Most churches don’t use these, but I like to. It is a large board (bulletin board) posted somewhere prominent with the following on it, al-ways up to date.

a. The Contact Sheet (Have people verify that their info is correct)

b. Rehearsal Calls (Specific times)

c. Costume Fittings (and a form for schedule conflicts, to be filled out by the cast member, saying when they can, and will.)

d. Copies of any and all correspondence to the cast and crew, dated.

8. Before the first rehearsal:

a. Talk to the cast, then type up a list of potential and real conflicts for yourself and the director. Give all audition forms to the production manager when fin-ished.

b. Work out what the Director wants, and then check to see that the stage has been set up for read thru or rehearsal.

c. Prepare Publicity Data/Bio Sheets to distribute to the cast, and prepare any other paperwork and/or scripts for the cast.

d. Check with the Director to see if the scenic, lighting and/or costume designers need to be in attendance at the first read-thru, and notify them if necessary.

e. Place spike marks on the stage floor, based on the floor plan before the first blocking rehearsal, if at all possible.

f. Make certain any rehearsal furniture needed for blocking rehearsal is present. Check with designers/tech for assistance.

g. Compile a list of necessary rehearsal props.

h. Discuss with Director about the dates props will be needed.

i. Check with designer and pull rehearsal props.

9. The Rehearsal Process:

Be there early, well before rehearsals begin.

If necessary, turn on all work lights and house lights.


Make certain rehearsal properties are available.

Make sure all furniture is in place.

Check to see that all actors have arrived and call any late comers (with enough time to get them there).

Have rehearsal buzzers, bells, or phones ready as necessary.

Time all rehearsals.

10. During the Rehearsal:

a. Depending on the Director’s wishes, call lights, begin scenes, etc.

b. Take very accurate and specific blocking notes. Use a floor plan if it will help. See the ideas on the promptbook.

c. Take notes on any technical requests or needs from the director.

d. Fill out daily rehearsal report.

e. Be ready for the next scene so time is not wasted.

f. Prompt for lines. Be sure to wait until actors call for "Line!" Never prompt just because an actor has paused.

g. Keep an eye on rehearsal running time and inform director as necessary to keep rehearsals on schedule.

h. Spike all set pieces.

11. After the rehearsal procedures:

a. Make sure to show all notes on rehearsal report to director at the end of each evening.

b. Pick up all properties, and put in their place either in a prop cabinet, or on a prop table.

c. The Director will probably notify cast and crew of any changes and updates. Make these changes on the Callboard, and add notifying the cast and crew again as part of your daily list. Trust me, it is better to hear, “ I already know, I was there, or don’t you remember?” than to hear, “Well, nobody told me….”

List revisions: Lists will change almost daily. It is very important that you keep organized and on top of the current needs of the production. Whenever something new is added (or cut) dur-ing rehearsal, include these on the evening's rehearsal report under the correct head-ing. Keep your lists current and reprint them for all people involved. Each time you print a new list, include a "date revised" and consider using the colors, so you and everyone


else knows which list is current. Star new items and note at the bottom what was cut since the last list. Be very detailed on your list - note especially if there are items which will be consumed (eaten, torn up, etc.) each night, and any other important characteris-tics.

Production Meetings: In most churches, the Director or a staff member, usually conducts the meetings. Sometimes the Director has the stage manager conduct the meeting. If that is the case, give everyone in attendance equal chance to make their needs or questions or possibly complaints, known. Start with the director and their questions and work through everyone involved. Director, Scenic Director, Costume Designer, Lighting De-signer, Technical Director, Publicity (if you have one). Take notes on the production meeting form, photocopy the notes for all in attendance and give them copies, or post them on the Callboard. It is a good idea for each of these people to have an envelope on the Callboard where you can place their copies. You may choose to take short hand notes and re-copy them later. Just be sure everyone can read your handwriting. Be precise; sloppy note taking leads to mistakes and misunderstandings.

Run Crew Meeting:

Contact all crew members to remind them of the meeting times.

Before the meeting, discuss with the TD any special issues that the crew needs to be informed of.

Final/Revised Technical List:

Compile final properties list and distribute as necessary.

Create final sound effects list. Distribute as necessary.

Attend all dry tech (technical crew only) rehearsals, and take notes.

Before technical rehearsals begin (3-4 days):

a. Be sure you understand all emergency procedures. Know where the fire extin-guishers are, and have a phone available if necessary to call emergency ser-vices.

b. Go over prop lists with Director and the designer so you are sure of each and every property in the show.

c. Set up prop tables SL (Stage left) and SR (Stage right), cover with Kraft paper, and layout all props with name and character designation.

d. Be sure you understand how all scene changes work.

e. Post show running order backstage, in greenroom and dressing rooms, and on the Callboard.


f. Know where every crew person will be and what they will be doing. Some of this may have to be worked out with the technical director and designer. More of these decisions may be made at paper tech.

g. Post a tech week schedule on the Callboard and hand a copy to each per-former.

h. Create a "Sign-in Sheet" and post it somewhere prominent and easily accessi-ble.

i. Figure out where and how many headsets will be needed, if you use them or have them.

j. Figure out where quick change areas will be needed.

k. Glow tape any areas where difficult exits or changes are anticipated.

l. Place cues in your prompt book (booking cues).

You should receive a Cue Synopsis from the lighting designer, sound designer, and any special effects designers involved with the production 2-3 days before paper tech. Use these as guides to begin booking your cues. Paper tech will answer any questions you may have about how and when cues need to be called.

Paper Tech: Paper tech are a good idea, if you have the time. All production staff and backstage crew heads if they are available are required to attend. You "walk" through the entire show synchronizing all cues and their placement. This is the time to be sure that sound cue 2 happens with or before light cue 12, etc. Many churches won’t have this much need, but it can be helpful to know what it is.

Dry Tech: A dry tech should be scheduled the first tech rehearsal involving cast. No performers are called for this rehearsal. All crew members and designers are required to attend. Typically the TD and designers run this first crew rehearsal. Running assignments are made here and crews are trained for their specific assignments. Scene changes can be run here and complicated ones rehearsed as needed. Change problems can be worked out without the actors having to sit and wait.

Tech Rehearsal:

The technical rehearsal is a beast unto itself. Now the operations and technical respon-sibilities are in your hands. The design staff will work with you especially at first tech, but you are expected to keep things on schedule and moving. You must remain profes-sional and pleasant at all times, even through a very long rehearsal. Many times the technical staff will just keep going at tech rehearsals. Watch that the crew and perform-ers don't get overworked in long stretches. If you think we need a break, talk to the de-signer or TD. They are always a good idea. If you don’t have a big production or crew, some of the following may not be necessary.


Tech Rehearsal Checklist:

a. Make sure everyone involved with the production is there before the rehearsal begins. This is the time for announcements and introductions. If your church and or production is large, many of the crew and cast may have never met. Once an-nouncements are complete and the staff has given you the okay, call "5 minutes please" and the evening will be underway.

b. Call "Places Please" and check that headsets are working and everyone can hear and communicate with you.

c. Check with light board operator (if you have one) to see if they have control of the house lights and that the work lights are off.

d. Check with sound board operator to see if they are ready.

e. Make sure your cast and running crew are ready.

f. Make sure any musicians are ready (if you have live music).

g. Take a deep breath and call your first cue of the evening. Take the rehearsal one cue at a time. Stop when necessary as requested by either the director, de-signers, TD, or yourself.

The stage manager should be the only one to halt the performance. Except, of course, the Director.

1. When the performance needs to be stopped you should call out "Stop Please". 2. Discuss with those appropriate what needs to happen and from where you will pick-

up the rehearsal. 3. Always let the performers on stage know as soon as possible where they will be re-

starting from. Don't leave them figuratively in the dark. 4. Never leave a stage in black, someone could get hurt. Always restore to a cue with

light as soon as possible. If you must go to a blackout, inform those on stage and off "Stage is going to black" before you turn out the lights.

5. When everyone is ready to go, call "Begin please" to the performers, and say it on the headset, as well. The performers will start as they are ready. They may need a moment to compose themselves.

This process will carry on throughout the evening. The Director will more than likely run the rehearsals, although after everyone is off-book and you are into technical rehears-als they may not. At the end of the evening the director may wish to meet with per-formers. At times you will be pulled in both directions, but you need to remember the Director runs the show. Often they will talk to everyone first, and then ask if you need to talk to your people. Check with crew members on problems and concerns. They are your link to a smooth performance. Treat them with respect and appreciation and they will enjoy their job. If you ever have any problems that you feel uncomfortable with in-volving a crew member or a performer inform the stage manager adviser immediately.


The Performance

The performance belongs to you. The responsibility for the production is squarely in your hands. Arrive every night with nothing but the production on your mind. You, above all, need to check your life at the door so the performance can go as smoothly as possible.

a. Follow the Stage Manager's Checklist for each performance.

b. Synchronize with all technical people, and cast.

c. Check for any repairs or touch-ups needed.

d. Make sure performers have no problems.

e. Double and triple check the stage, the house, backstage, and the dressing rooms every night. You can never be "too sure."

f. Keep a running inventory of any consumables for the show. This includes food, liquids, papers, notes, envelopes, etc., and inform the correct people before things run out.

g. When it’s time, be ready to begin. However this is generally coordinated with the Director and or Pastor, or Music Director, or someone of that nature. You may have to run a little late to allow more people to get in, etc. The cast and crew will probably be anxious and jumpy as the opening time comes and passes, so let them know what is happening if you can.

Enjoy this process and the show. While the amount of work will never seem less than a mountain, the rewards of completing a production are great. Mistakes will happen, that is the nature of live performance. Don't be too hard on those who make the mistakes, even if it is you; take the time to correct them.

After the Production Run:

_____Fill out a SM Crew Evaluation Sheet. This is done to let the Director know who did what, when, and where. This is to help folks get better, not to report or tattle on them.

_____RELAX!!!!

Points to Ponder

Communicate - Talk with each and everyone involved with the production and many problems can be solved before they happen. You are the conduit between everyone else.


Mediate - Don't cause problems, solve them. Be professional and respectful at all times but be firm. Never hesitate to ask for advice from the Director, or Pastoral staff, or others with experience.

Listen - Problems may not always come to you so always keep an ear to the ground for potential problems.

Be Patient - Many things and people will try your patience daily. Remember there are many artistic egos working in tandem; help to keep everyone working together.

Remember - We are all working toward the same goal; the best ministry of the Gospel we can provide, combined with a theatre or drama experience. You are an integral part of this great ride.

Stay put - The stage manager should never be the one to move scenery, or to "go fer" something. Unless it is an emergency, someone else has to do it. Every member of cast and crew needs to know where to find the stage manager.

SM Paperwork, etc.

Kit Inventory Procedure for a Fire or a Medical Emergency Rehearsal Report Sheet Production Meeting Notes Check List Performance Report Run Crew Evaluation

Costume Repair Sheet

SM Kit Inventory List

This kit should be stored in the props cabinet and taken to rehearsals nightly. Add or delete to this list for your needs as this is typically a minimum.

Spike Tape #2 Pencils (many) Dictionary

Gaffers Tape Large Erasers Spare Change

Glow Tape Black Pens Antacid

Scotch Tape Matches White Out

Band Aids Nail File Visine

Tweezers Rubber Bands Masking Tape

Ice Packs Stop Watch Saline

Aspirin Cough Drops Tampons


Safety Pins Post-it Notes Scissors

Paper Clips Flashlight Spare batteries

You get the idea. Just be prepared. Also make sure you have a good First Aid kit available as well and restock it every night. And make sure Fire extinguishers are available and that all cast and crew knows where they are located.

Procedure For a Fire or Medical Emergency

*Have an established procedure. Some of this applies to anywhere, but plan and adapt one for yourselves. In a church, the Pastor or Assistant Pastor, etc., will proba-bly handle all of this, but decide on a procedure ahead of time, and write it down!

Stage Manager Makes The Ultimate Call To Stop A Performance!!!

Notice I didn’t say DECISION. If this decision is made, the following must happen. More than likely someone from the Pastoral staff will beat you to this, if you are in a church. If not, it may be you. Some medical emergencies may not require stopping the performance, so use judgment, and have someone available to drive, etc.

1. Get on the headset, and say, "Stop Please, we have a problem backstage. Turn on all house lights. Turn on all back stage work lights."

2. Stop the cast. The lights may do that anyway 3. The sound (if on) is faded out, then

the sound operator immediately makes certain a mic is on for the an-nouncement.

4. The crew heads for their assigned ex-its to hold doors and direct the flow of traffic to the outside.

5. If it is needed, the designated person calls 911 or necessary numbers.


REHEARSAL REPORT SHEET

Production:_______________________

Date:____________________________

Stage Manager:____________________

Call began:_______________________

Breaks:__________________________

Ended:__________________________

Scenery:

Lights:

Costumes:


Props:

Sound:

Miscellaneous:


PRODUCTION MEETING NOTES

Production:_______________________

Date: _______________________

Stage Manager:____________________

Scenery:

Costumes:

Makeup:


Lighting:

Sound:

Other:


STAGE MANAGER CHECK LIST

*Use your own time-frame, and lists. This assumes a 7:00 o’clock starting time.

Production:_______________________ Date:____________________________

Stage Manager:____________________

6:00 (or 15 minutes before actor call) a. Sign in, yes you should be first nightly.

b. Start getting yourself ready

c. Check over notes

d. Start coordinating with running crew as they arrive.

e. Have someone ready to make phone calls, if needed.

6:15 (Actor’s call. Running Crew should be present)

6:30 (or 10 minutes after actor call)

a. Check that all actors have signed in. CALL LATECOMERS IMMEDIATELY.

b. Sign in all running crews. CALL LATECOMERS IMMEDIATELY.

c. Check all headsets (booth, backstage)

d. Check monitor system (dressing room, green room, booth)

e. Make sure all crew checks have begun

f. dimmer check

g. sound check

h. costume check i. Check the following yourself:

set properties furniture stage floor

6:45 Give "15 minutes to house is open, please" call Check that all running lights are in working order Have actors check properties Check audience status with house manager (i.e. are they still coming, etc.)


6:50 Make sure all checks are complete Turn off work lights Note that lighting and sound pre-set are up Be sure light board has control of house lights Give "Stage is closed, please," call Do final visual check of stage Give "Places" for crew call

6:55 Give go or hold to house manager Make sure work lights are off and that masking is down Listen for crew on headset to sign on

STAGE MANAGER'S PERFORMANCE REPORT

Production:_______________________

Date:____________________________

Stage Manager:____________________

ACT 1 start:__________ end:__________

ACT 2 start:__________ end:__________

ACT 3 start:__________ end:__________

Actors or Crew Late:

Notes to House Manager:


Problems or Repairs: (repairs needed, repairs made):

Accidents or Injuries: (to cast, crew, audience; explain in detail - time occurred, witnesses):

Additional Notes:

Signed :_____________________________________________________


STAGE MANAGER'S RUNNING CREW EVALUATION

Production:_______________________

Date:____________________________

Stage Manager:____________________

CREW MEMBER NAME:

PERFORMANCE:

____VERY GOOD ____SATISFACTORY ____ UNSATISFACTORY

NOTES: (Improvement ideas; conversations with; etc.;)

SM SIGNATURE:__________________________________________


COSTUME REPAIR SHEET

**Please attach this to the garment itself, or it’s hanger, and notify the costume person and/or the stage manager as well.

Date: _______________________

Cast Member:__________________________________

Character:_____________________________________

Describe the problem:

Cast member signature:____________________________

Repair made:

Date:__________________

stage managerâ€™s manual

Documents