Study Guide

Test 1
1. Blocking: recording all of the movements of the performers onstage.
2. On book: following along in the script as the actors rehearse. This way if an actor calls
line, the ASM can quickly feed the correct line and the rehearsal can continue.
3. Read-through: typically during the first rehearsal (but not for Dracula) the actors read the
entire script aloud together for the first time. The stage manager reads the stage directions
out loud as they appear in the script. This is a way to ensure that the entire cast is familiar
with the script and helps everyone have a sense of the story and where the director is
going with it.
4. Anticipate: the stage manager should be able to know ahead of time what the director
wants and what needs to happen during a rehearsal or a performance. A good stage
manager should not have to wait to be told to gather props before rehearsal or to set up
the table and chairs for the director and ASMs. If the stage manager sees that an actor has
left something on the wrong side of the stage during rehearsal, s/he should get an ASM to
fix it before the actor has a problem in the next scene because s/he does not have the right
prop.
5. Spiking: the ASMs use a special type of tape to mark where furniture and other objects
go onstage. The ASM uses a sharpie to label the tape so everyone knows specifically
which object should be placed there. After the object is placed onstage, the director
verifies that it is in the direct location. The ASM puts tape around (usually two) of the
corners and labels it.
6. Crossing: when an actor moves from one part of the stage to another. This is part of
blocking and is recorded by the stage manager and the ASMs.
7. Line notes: later on in the rehearsal process the ASM will take line notes. These occur
whenever an actor skips a line, inverts it, or calls line. If an actor substitutes a different
word, then the ASM writes out how the line should be said. This helps the actors know
which lines they have missed and how to fix them. It is important that the actors say the
lines exactly as they are written because light cues come off of certain lines and these
cues may be missed or at the wrong place if an actor says a line incorrectly.
8. Research: reading the script and talking to the director before the show begins. The stage
manger also creates lots of paperwork to support the show.
9. Production book: it is the Stage Managers Bible in regards to the show. It has the entire
script with blocking sheets that correspond with each page of the script. It includes all of
the paperwork associated with the show like the rehearsal reports, shift charts, prop
tracking sheets, costume changes, the actual prop list, and the performance reports.
10. Assistant stage manager: this person helps the stage manager during the rehearsal process
and are backstage during the. The ASMs tape the stage, round up people in the
audition/callback groups, help set up the rehearsal space, write line notes, make their own
stage management boxes with anything they think the performers will need during
rehearsal and anything else the stage manager asks of them.
11. 5 important responsibilities
Recording blocking
Writing line notes
Striking set pieces and props during transitions
Taking notes for props, costumes, etc. that will go into the rehearsal report
afterwards
Time run of show and keep track of breaks (Stage manager tells everyone when
they have one minute left on break and when we are back.
12. You must read the script at least once for your own appreciation. You will be working
very hard on the show, but you should get to simply enjoy it once. Then when you re-
read you can look for things like possible lighting cues and shift changes. You should
notate these (perhaps using different high lighters for the different aspects). You must be
familiar with the show before the rehearsal process begins.
13. The SM and ASMs should not lose their temper. We are coached to not have an opinion
and must learn to control ourselves. We must deal with lots of different people and many
challenging situations. If there is a problem we must remain calm and communicate the
issue to the SM or Jeni.
14. A rehearsal report records all of the events at every rehearsal. It says if anyone was late,
how each minute of rehearsal was spent, and any notes/issues that came up for costumes,
props, scenery, and lighting/sound. It communicates everything related to the show.
Everyone on callboard receives a copy of the rehearsal report.
15. Organization is critical to success. The SM is in charge of many different things and must
be on top of all of it. They must have all of the paperwork easily accessible so that it can
be referred to quickly. The SM is responsible for communicating with everyone involved
in the show so s/he must be organized so that s/he does not forget to tell anyone an
important note or ask a question.
16. 5 things for Audition prep
Meet with director
Put slides and copy of script in the work room
Make and post an audition sign-up sheet
Post announcement to electronic callboard giving audition dates and informing
everyone that the script and slides are in the work room
Contact ASMs to make sure they are aware of their assignment and give them
their call for audition day (usually an hour before they begin)
17. A stage manager communicates with everyone in charge of the different elements of the
production. The SM makes sure that the entire process runs smoothly. The SM makes the
rehearsal reports and posts them to callboard. S/he goes on rounds to the costume shop,
scene shop, lighting shop, and paint shop every day to ensure that there is no confusion.
If the heads of these shops have questions, then the SM communicates the director. The
SM also runs the production meeting on Fridays at 12. The number one trait of a stage
manager should strong communication skills. The SM prepares before auditions, instructs
ASMs and running crew, calls cues during the show, and leads everything being struck
into the paint shop at the end of the show.
18. For this exam you will also have to record blocking on a sample scene she gives to you
on exam day.
Test 2
1. Dress Rehearsal: full costumes are added to the rehearsal process. Wardrobe crew is
backstage assisting with quick changes and to help with any costume problems like a
missing button. The stage manager is in the booth calling the show with the lead ASMs
on headset. An ASM is assigned to run down to the costume shop to tell them 10
minutes, 5 minutes, etc. The director is able to see the costumes under the lights and
make any last minute changes. During the final dress rehearsal, the show is run under
show conditions with the house opening at 7:30 and a go at 8 pm.
2. Dry Tech: a tech rehearsal without actors. The stage manager, ASMs, running crew,
designers and director have a special rehearsal to work the technical aspects of the show
without the actors. Occasionally an ASM will stand in for an actor so that the lighting
designer can make sure that s/he is lit properly for the scene. All lighting and sound cues
are run and the running crew is able to practice all of the scene changes. The stage
manager is in the lighting booth and the Lead ASMs are on headset.
3. Paper Tech: the stage manager receives the lighting and sound cues from their respective
designers. The stage manager has a blank copy of the script and writes in the standby
and go for all of the cues. Some stage managers color coordinate the cues like all light
in yellow, sound in blue, etc.
4. Prompt book: the prompt book is the stage managers script with all of the blocking.
5. Prop table: there is one on each side of the stage. Props are placed depending on which
side of the stage they first appear. One side may have more props than the other. Each
prop table is taped out and labeled so that each prop has a specific place on the table. This
helps to ensure that no props are misplaced or forgotten. At the end of each
performance/rehearsal, the props are returned to the prop closet and locked up.
6. Strike: stage managements strike happens almost immediately after the final
performance. All of the props are returned to the paint shop along with any easily
moveable set pieces. The tape comes off the prop table. The stage is cleaned and swept
and spike tape is removed. Trash is taken out. All personal items are removed from back
stage. Running crew and ASMs are dismissed as they have completed their crew portion
of their classes. Everyone is thanked for a job well done.
7. Bingo chart: a shift chart that details what is moved, when it is moved, and who moves it.
Sometimes they are divided by stage left and stage right.
8. Places: Approximately 2 minutes before the show begins, the stage manager calls places
on headset and an ASM or running crew member runs to all of the dressing rooms, the
green room, the costume shop, and anywhere else that anyone involved with the show
may be to make sure everyone knows that they should be in their places for the
beginning of the show. Some are in the wings because they are about to go on at the top
of the show, while others that do not appear until later may remain in their dressing room.
9. Magic sheet: part of paper work with all of the lights for the show. It also may show what
color a specific light is on stage. This sheet is important because the stage manager
knows which light is where and knows where to look on stage to make sure that it comes
on when it is supposed to.
10. For this exam you will also have to record lighting and sound cues on a sample scene she
will give you on exam day.
Test 3
1. Be able to identify different types of paperwork (magic sheet, rehearsal report, etc.)
2. Performance Report: details everything that happened during the performance. It gives
the running time of the show and its intermission. It states if there was a standing ovation.
Instead of asking questions for something different for rehearsal (like in a rehearsal
report), the performance report says if a cue was missed or late. It also gives notes to the
designers to let them know if a prop was lost or misplaced or if the stage floor needs to be
re-painted.
3. Paper Tech: the stage manager receives all of the lighting and sound cues from the
lighting and sound designers. S/he makes notes of the cues in a new copy of the script.
S/he writes standby and go for all of these cues. It can be color coordinated for the
different types of cues. For ASMs the paper tech is a time for them to finish and prepare
their paperwork like the bingo/shift charts and prop tracking sheets.
4. Technical Director: makes sure that all of the technical aspects of the show run smoothly.
5. Artistic Director: makes sure that all of the shows are of good and unifying artistic
quality.
6. Dress rehearsal: costumes are added to the rehearsal process. Wardrobe crew is there to
assist with quick changes or any problems that may arise with the costumes.
7. Spiking: using a special type of tape to mark where set pieces appear on stage. The name
of the piece can also be written on the tape. Spike tape is also used in the Studio Theatre
to note where the set and scenery will be so the actors know where to enter and exit.
8. Line notes: slips of paper that indicates where an actor missed a line. They are given
when an actor calls for line, paraphrases a line, or inverts lines. The page number appears
on each note so that the actor knows where specifically in the play this happened. The
actor can now review the line and will hopefully not miss it again at the next rehearsal.
9. Producer: oversees all of the shows and all of the people in a company.
10. Business Manager: handles the finances of a theatre company. This person ensures that
we do not go over budget and can also be responsible for publicizing the shows.
11. Running crew: they move the set pieces during the show.
12. The stage manager is responsible for meeting with the different designers every day to
make sure that they do not have any notes or questions for the director. The stage
manager is responsible for notifying everyone about auditions and posting a sign-up sheet
on the board. Stage managers also run call backs by having everyone check-in and telling
the actors when to go in. For main stage productions stage managers hand out scripts to
actors before rehearsals begin so that the actors can begin to prepare. They write out who
has which script and sometimes have to collect the scripts when the show is over. S/he
puts sides in the workroom and also provides them at auditions. S/he instructs and helps
the ASMs with their duties. Together they tape the rehearsal space. The stage manager
preps the rehearsal space by setting out a table and chair for the director before rehearsal
begins. The stage manager can also be responsible for creating the photo call list of
scenes (typically starting from the beginning of the show and working backwards).
13. A production book is the stage managers copy with all of the blocking written on it.
There will be a key which denotes what all of the blocking symbols stand for in the
script. It will also have copies of the rehearsal and performance reports. It will contain all
of the paperwork associated with the show like the bingo chart, magic sheet, prop
tracking sheet, character break down sheet, and a pre-show check list. Our production
books also included journals about the experience from auditions to the close of the
show.
14. Before rehearsals begin the stage manager must meet with the director to get an idea of
how s/he expects the process to run. The stage manage should establish contact with the
ASMs so they know they are working on the show and are able to introduce themselves.
S/he should also introduce her/himself to the designers so they know who they will be
dealing with throughout the process. The stage manager should read the script for
pleasure and then re-read it to note possible lighting and sound cues and to make a
preliminary prop list. The stage manager announces auditions and posts the sign-up sheet.
S/he places audition slides in the workroom. The stage manager is responsible for making
a box that holds items that actors may need during rehearsal like pencils, bandages,
mints, and cough drops. The box also holds items that the stage manager will need like
sticky notes, spike tape, high-lighters, sharpies, and tabs. Ideally this box should be
assembled before rehearsals begin.
15. A production meeting is held every Friday at noon. The producer, director, designers, and
stage managers attend. The stage manager runs the meeting by going through all of the
designers and asking them if they are having any problems or need any clarifications. The
director can also talk about how the show is going and also ask for rehearsal props or
costumes. The stage manager takes notes of the minutes and posts it to callboard.
16. The number 1 trait of a stage manager is communication. This is important because the
stage manager is responsible for talking to everyone involved in the process and making
sure that everyone is on the same page. S/he needs to be approachable and easy to
understand. The stage manager posts a rehearsal report to notify the designers of any
problems or concerns that arose during the process. The stage manager uses the
performance report to communicate any problems that happened during the performance.
The stage manager is on headset during the performance. S/he calls standby and go for all
of the cues.
17. If a light blows, I would ask the person running lights (most likely the light board
operator) to bring up another light nearby (using the magic sheet to find a suitable
alternative) so that the actor can be seen. I would write a note in the performance report
asking for it to be looked at and hopefully fixed before the next performance.
18. For this exam you will need to fill out a production matrix.
19. Pre-auditions: read script, met Chelsey and the other ASMs, taped stage
Auditions/Callbacks: prepped audition room, set out sides, checked in actors/called them
into groups to go in, cleaned space afterwards
SM relationship: very professional but does not give opinion on artistic process
Paperwork: helped make Prop tracking sheet and was on the shift chart for moving the set
Working with others: listened to Chelsey and worked alongside the other ASMs to ensure
things went well during the rehearsal process I helped the running crew move the set and
clean up before after every tech rehearsals and performance.
Strike: I helped clean on and off stage, moved props and set pieces to the prop shop,
checked for trash and made sure that all paperwork and personal items were removed
from back stage.
Day to day duties: the stage manager goes to all of the designers and checks with them
for notes or questions.
Production book: I recorded all of the blocking for Dracula. I also printed a rehearsal
report and performance report. I included a shift chart and prop sheet.
Performance: I was on stage left with Bri. I set out the stage left props and assisted with
the set changes (mainly the ones dealing with the bed).
Rehearsal: I helped clean the space set up tables and chairs, and set out rehearsal props
and costumes. I recorded blocking, gave line notes, and was on book. I called actors back
at the end of breaks. I helped clean and put everything back at the end of rehearsal.