A Stage Manager’s Handbook

Full of Stress, Accomplishment, and All That’s in Between!

By: Jessica Nicholson

Submission Date: 5/12/18

Table of Contents:

Production Organizations and Your Role as Stage Manager……………………………………………………….4

What to Know About Equity……………………………………………………………………………………….……………..7

Attributes of a Good Stage Manager………………………………………………………………………………………….8

Stage Manager Kit Essentials……………………………………………………………………………………………………10

Five Important Periods During a Production……………………………………………..……………………………..12

Prompt Book: The In’s and Out’s…………………………………………………………………….……………………….13

Master Calendars…………………………………………………………………………………………………….………………14

Call Board Set Up………………………………………………………………………………………………………..……………17

Preliminary Plots……………………………………………………………………………………………………………………..18

Important Information for Auditions……………………………………………………………………………………….23

Stage Directions and Blocking for Various Spaces…………………………………………………………………….26

Preparations for the Rehearsal Period…………………………………………………………………………..…………28

Use of Assistant Stage Managers……………………………………………………………………………………………..33

Preparing Your Space for Rehearsals………………………………………………………………………………………..34

Working with Your Director……………………………………………………………………………………………………..35

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Essential Theatre Safety………………………………………………………………………………………………………….36

Writing and Calling Cues and Technical Rehearsals ……………………………………………………………….37

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 Production Organizations and Your Role as Stage Manager

People to Know:

 Producer – Directly responsible to a particular production, they will provide most of the

funds or they will get the funds for the production

 Artistic Director – Responsible for choosing plays that the company will be doing,

responsible to bring people in to the theatre and they must sell this shoe to the

community

 Managing Director – Do mainly the same jobs as the artistic director but they take more

of a business approach compared to the artistic approach taken by the AD

 Production Manager – This person is in charge of all backstage operations excluding the

actors. All dealings are with the technical side of the production.

 Stage Manager – That’s you! Dealing with all the backstage/tech aspects of the show as

well as the actors. You make the ship run as smooth as possible. The stage manager is

responsible for making the entire production run smoothly, on stage and backstage, in

pre-rehearsal, rehearsal, performance and post-performance phases.

People You’ll be Collaborating With:

 In productions, you will be a main line of communication between many different

aspects of the technical side of the production. You must be aware what each person’s

job entails so you know where to go with what questions. The stage manager should

know who reports to whom in his theatre. Not only should the stage manager know to

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 whom he is responsible, but also to whom everyone else on the staff is responsible. In

the role of personnel coordinator, this information is important.

 Director – slightly self-explanatory, the main person a SM works under, he gives the

direction of the show. He will give the final yes or no to artistic decisions. Sometimes will

have an Assistant Director

 Scenic Designer – creator of the theatrical scenery for the production, often will work

with scenic artists to make the vision happen

 Technical Director – typically is the overseer of the scene shop and of the technical

aspects of the show. They’re there to make sure everything remains running smoothly.

This position goes hand in hand with the scene shop supervisor.

 Master Carpenter – works in scene shop on the set, typically works under the TD but

some questions may be posed to the master carpenter, they will have carpenters and

stage running crew working under them/with them

 Property Mater – This is the person who will be in charge of all props. They will have

rehearsal props and finalized production props. They will often work with property

artisans to help make the needed props.

 Lighting Designer – This person will decide what lights will be happening when, which

units are used, which gels, what happens on what cues, etc. They will either be the

master electrician, or they will work very closely with them. Under both of those people

will be the electrics crew and the board operator.

 Costume Designer – This person will work on either buying pieces for the costumes or

making them, they will come up with an idea for what the character will look like and

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 they will run with it. They work closely with the actors in fittings and design. They will

either be or have a costume shop supervisor/manager. In the costume shop they will

also have various workers including cutters, drapers, first hands, and stitches

 Sound Designer – this person will work on the sound and the balance of it in the show.

They will work with mics as well as sound cues or any music needed in the production.

This person will work with sound technicians

 Choreographer – If you are working on a musical, you will need to work with a

choreographer. They will be in charge of the movement of actors. You will have to

communicate with them in the setting up of a schedule

 Music Director/Pit Orchestra – Again, if working on a musical we will have to work with

the music aspect. The MD will be in charge of teaching music to actors and will typically

be directing the pit orchestra.

Things to Remember for an Effective Group Operation:

 Have good communication skills, don’t be afraid to ask question and make sure of

information before sharing it

 Have a common goal or mission in mind for the production

 Take on a leadership role

 Have a cooperative environment, address conflicts early on and work them out

 Understand the production progress, and trust in it

 Treat everyone on the staff with respect for his function

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 What to Know About Equity

Organizations to Know:

 AEA – Actors’ Equity Association

 IATSE – International Alliance of Theatrical Stage Employees

Facts About Equity:

 When an actor is auditioning you must get their information in relation to equity. You

must ask if they are a part of any organization and then they will have to write down all

of the important information for that org

 If you are working on an equity show, all of your responsibilities will be mapped out for

you. It will tell you the things you are and are not held responsible to in the production,

unless otherwise stated in another document that was signed by the stage manager and

company (see attached sheet about equity stage manager requirements)

 For an equity production, for every 55 minutes of rehearsal you must take a 5 minute

break or for every 80 minutes of rehearsal you must take a 10 minute break, as to hold

to the equity standards

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 Attributes of a Good Stage Manager

1. Assume Responsibility for Everything

 Your role in productions is very active, you don’t have time to blame

others for mistakes that are made. Your job is to see issues and solve

them

2. Keep Your Cool

 Even if you’re dealing with the most stressful, irritating, or horrible

situation, you must face it with a calm and patient demeanor. This job

will test you but take it with a smile on your face and a respectful tone in

your voice and you’ll be just fine

3. Keep Your Eyes and Ears Open While Keeping your Mouth Shut

 In this role you will see and hear many things, you will know of many

actor conflicts and the last thing you should be doing is spreading those

stories around. Don’t feel the need to promote yourself, your hard work

should do that by itself

4. Think Ahead

 Issues will arise throughout the run, try your hardest to plan ahead and

be prepared for any issues that may come your way during the rehearsal

process or during the run

5. Be Efficient and Organized

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  In this line of work there never seems to be enough time for everything

that needs to get done in the time given. Be efficient, stay up to date on

deadlines, try to do things far before they are going to be due.

Organization will go hang and hand with efficiency.

6. Be Punctual and Dependable

 On time for you is late. You must be there before everyone else and you

have be ready to go once everyone starts flooding in to a rehearsal.

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 Stage Manager Kit Essentials

What is a Stage Manager Kit?

 Essentially, your stage manager kit is going to be filled with every little thing that you

could ever imagine needing during a duration of the production you are working on.

Things to Include in Your SM Kit:

 First Aid Kit – including bandages, Neosporin, ibuprofen, gauze, etc.

 Change – quarters, dimes, etc.

 Ruler/Straight Edge

 Measuring Tape

 Sewing Kit

 Bobby Pins

 Straight Pins/Safety Pins

 Graft Tape

 Spike Tape

 Small Tool Kit

 Water/Snacks

 Makeup Wipes/Baby Wipes

 Emergency Contact Information

 Tweezers

 Nail File

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  Scissors

 Smartphone

 Chalk/Pencils/Pens/Eraser

 Stopwatch

Of course, there are endless more things that could be added to your kit in the hopes of making

the rehearsal and run of the show go as smoothly as possible

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 Five Important Periods During a Production

1. Pre-Rehearsal Period:

 Reading Script

 Creating Preliminary Props

 Measuring and feeling out your space

 Speaking to the director about what they need and want

2. Rehearsal Period:

 Develop individual units

 Record all blocking

 Finalize plots for each aspect of design

 Keep lines of communication open between designers

3. Technical Rehearsal Period:

 Basically, like testing the model that has been developed

 Here is where we get all of the separate pieces to fit together

4. Dress Rehearsal Period:

 The time to see that everything will work together as a team consistently

5. Opening/Run Period

 Presentation of a complete production to an audience

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 Prompt Book: The In’s and Out’s

What is a Prompt Book?

 An annotated copy of a play for the use of the stage manager throughout the rehearsal

and run of the production

 To create this book, you want to have an 8 ½ in x 11 in pages with the script in the

middle leaving space to write cues on the sides, the page proceeding the script should

be completely blank and will be used for writing the blocking of the dialogue

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 Master Calendars

What is a Master Calendar?

 A master calendar will contain all the important dates that are relevant to the

production that the calendar is for. This master calendar will be distributed to designers,

the director, the assistant stage managers, basically everyone whom it concerns

excluding the actors.

 It is your job as a stage manager to set this master calendar up for the production. In

order to do this, you need to communicate with all the designers and whom it concerns

for certain dates. Keep open lines of communication and make sure to confirm all of the

dates with everyone before you send out the schedule. This master calendar should be

kept in your prompt book and if any modifications are made along the way everyone

should immediately be updated.

Important Events on the Master Calendar:

 Deadlines for set drawings – This will relate directly to the scenic designer. It is when the

set design/ground plan of our set is due, so we can begin working with it in rehearsals or

begin building.

 Deadline for lighting plot/lighting plans – This will relate directly to the lighting

designer. It is when the plot for lighting is due, so the director can approve the ideas and

then hanging and focusing can begin as soon as possible, this is typically due after the

lighting designer is able to see a rough version of the show with the finalized blocking.

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 Deadline for printing of scripts for actors/director/designers/etc. – This one is most

likely on you or your assistants. Printing things will usually fall on you, as well as

distributing these things. This deadline will be placed for before rehearsals actually

begin.

 Date for Auditions/Callbacks – This date is self-explanatory. You must coordinate with

the audition space owners as well as whoever is attending and judging auditions and

callbacks.

 Complete Cast List Release Date

 First Rehearsal Date

 Full rehearsal schedule for actors – things like who is called when, where, times and

dates, etc.

 Work Calls – When crew hands as well as the TD will be called to work on set pieces and

other aspects of the show

 Production Meetings

 Off-Book Date for Actors

 Deadline for obtaining all rehearsal props

 Deadline for obtaining all official props

 Load-In Day – When you bring all the supplies for the set into the theatre

 Deadline for set completion

 Deadline for set sound effects for production

 Focus lighting units

 Costume Measurement Dates

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  Costume Fitting Dates

 Publicity Pictures or Publicity Interviews or Publicity Performances

 Dress Parade – This is after all costumes are complete and it isn’t always performed. It

lets the actors move and get a feel for their costumes

 Invitational Dress/Previews

 Tech Week Rehearsals

 Dress Rehearsals

 Paper Tech

 Fire Inspection

 Flameproofing of set

 Opening Night

 All Performance Dates

 Understudy rehearsals

 Closing Night

 Strike of the Set

 All other uses of the Stage

If you plan to have every aspect of the production in its final shape all at the same time, you are

likely to have problems. But by spacing deadlines for various aspects of the production, you

may check on, and overcome, small crises rather than have to face (and optimally surmount)

total panic.

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 Callboard Set Up

What is a Callboard?

 The callboard is the place to post the rehearsal schedule and company rules for the

actors and stage hands viewing. It’s basically a backstage bulletin board for the cast,

crew, and staff. Actors and crew will typically sign in on this board to make it easier for

you to know who is late or missing and who you need to call. It is usually located near

the stage door where it can’t be missed when coming in or leaving just in case there are

important announcements or reminders that need to be seen.

Basic Items a Callboard Should Include:

 Emergency Contact Phone Numbers – This includes fire, police, ambulance, etc.

 When the next call is, also where and who is called

 The rehearsal schedules

 Sign-In Sheet

 Company Rules

 Contact Information for SM and Director

 First-Aid Kit location

 Location of Fire Extinguisher

 Cast List

 Any Notes or Important Information for Actors

 Firearms Safety Tips (if gun use is involved

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 Preliminary Plots

What is a Preliminary Plot?

 Preliminary plots are started prior to the rehearsal process of a production. They are

created based on the script mostly to make sure nothing is overlooked. They are a very

loose interpretation of the production and are heavily subjected to change. The lists will

have many additions and deletions over the design process

 These lists are separated by department: lighting, sound, set, property, and costume.

There also can be plots pertaining to actors, special effects, and miscellaneous

 A very important thing to remember during the construction of these lists is to NEVER

propose a suggestion inappropriately. It’ll most likely do nothing but step on other

people’s toes.

 One copy should be kept in your prompt book and other copies should be handed to

those whom it concerns

 All finalized lists will have any and all cues included in the show and these cues will be

described in detail

 Note page numbers for al information!!

Scenic Plot:

 This one is slightly tricky and will rely more on what the director and scenic designer

want to do with the playing area. But if there are bigger pieces that appear to be

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 needed for the show you can write those and allow for the director and scenic designer

to take most creative freedom to change and add to that list

 This list, though starts very minimal, will get highly specific by the end of the design

process

 It will end up being a list of scenes and the scenic elements needed for each section

 For the attached play, “The Lost Coin”, I highlighted in green the scenic aspects that

would be included on the initial plot. Things like a window, a mantle, a television, and

others are included and can be changed around by the director and scenic designer

Light Plot:

 This plot should highlight the beginning and ends of scenes, most of those moments will

have some kind of a light cue

 We should also include “demand cues”, like a fireplace is lit, or a light switch is flipped,

flickering candled, etc.

 Any questions regarding lighting or house lights should be presented in this plot

 If there’s little to goof of or if it seems important, a shift of mood in the script can be

noted in the plot as a moment for a light change

 In “The Lost Coin”, the lighting indicators are highlighted in yellow to give an idea of

some of the things to be included on the plot. There is an indication of candle lights and

many switching of light switches

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Sound Plot:

 The sound plot will include sounds within the play as well as any pre-show music, bow

music, post-show music, and any fades between two sounds

 Things within the show that make noise should be included. Things such as phones,

thunder, doorbells, toilets flushing, etc.

 Another important sound aspect to the production is the backstage use of headsets.

Feel free to pose questions about if headset communication will be utilized and how it

will work on this preliminary plot

 Put questions about floor mics, live mics, wireless mics, and things of that nature

 If we are doing a musical, will there be a band? Will they be using tracks?

 Ask about live mixing of mics if they are being utilized

 Some examples are highlighted in orange in “The Lost Coin”, sound effects include

doorbells, thunder, etc.

Costume Plot:

 Costume plots not only outline certain things that a character will be wearing but it will

also sketch out quick changes that will require changing backstage or any changes in

general

 For the costume plot we will also develop an actor tracking chart which will show the

costume designer what actors/characters are in what scene

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  If there’s anything specific in the script pertaining to a character’s costume like a watch

or a jacket that should be included on the plot

 Any important pieces of information in the script telling us where the character is

coming from or going to could be important in some cases

 Note the period that the play is set in or the period that the director is focusing the

show in if different than stated in the script

 Attached in “The Lost Coin”, the color purple is things that pertain to important costume

information included in the script

Property Plot:

 On this plot, we will include props that are needed for the show as well as where those

props come from on a prop tracking list (what side of the stage will it enter or exit if it is

not already on the set, who will have the prop, who will set it, etc.). This list will most

likely include the most stuff early on due to the fact that most scripts talk about props

explicitly, and then it is added to by the director and props master

 Make sure to note the difference between stage directions and character dialogue when

making the plots

 Note the different prop types: hand, set, dress, costume, effects, expendables

 In “The Lost Coin”, the property plot points are highlighted in pink. Thinks like comics,

coins, wallets, etc. are included. It is also important to look at what characters are

carrying or finding the props. Like the wallet is already found in Donald’s back pocket

and it must contain money and a coin. Things like that.

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Special Effects Plot:

 Things like fog, rain, traps, flying, etc. should be included within this plot

 Not needed for every show

Miscellaneous Plot:

 This plot should include any questions or concerns that won’t fit on any other

preliminary plot. An example of this is maybe the cast list includes 10 actors, but it

appears that there are 12 speaking roles. Will we cast more actors or have certain actors

double in roles?

 Word pronunciation questions or outline can be included here

 Typos in the script can be highlighted here. Thins like missing words, misspellings,

repeating words, etc.

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 Important Information for Auditions

Auditions Tips!

 Most of the time SM’s will organize and set up auditions, not always but you should be

ready to take that responsibility on.

 Audition advertising is very important, and you need to make sure that all necessary

information is included (see Casting Call Info section)

 All the information that is on the casting call should be approved by the director before

it is posted or put anywhere

 Actor information must be collected before they leave the audition

Casting Call Info:

 Who is putting on the show? The producer? The theatre company?

 Who is the director? What is his email?

 Name of the show being performed

 Where can you obtain a copy of the script?

 What roles are available for casting? Give age ranges and character descriptions (or a

link to these)

 When are the show dates, or dates in which you need to be available?

 When is the audition?

 Where is the audition located?

 Always include the year!!

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  Are there any casting policies that the public should be aware of? Is the casting racially

blind or is a specific race wanted? Is it gender fluid or is there a set gender for each

part? Etc.

 What should the actors prepare for the audition? Be specific

 Are there any suggested readings about the history of the play or about the characters

to help assist the actors?

 Where will the performances be taken place if it is different from the audition space?

 Who is the choreographer, will there be a dance audition?

 Is this production equity?

 Will there be callbacks? Provide information for that

Actor Info to Grab:

 Name

 Phone Number

 Age

 Address

 Height

 Weight

 Eye color

 Hair color

 Union or Equity Affiliation

 Agency, Agent, Phone Number (if applies)

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 Past Experience

 Emergency Contact Information

 Past Education in theatre could be requested

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 Stage Directions and Blocking for Various Spaces

Various Theatre Spaces:

 There are many different types of theatre spaces that you could possibly be working in

and it is very important to know how to lay out your space and accurately show the

blocking that all actors receive.

 Proscenium Space:

 Arena or Theatre in the Round: (clock areas could

also be dictated in directions such as North, South, East, and West)

 See attached document to see how entrances/exits are labeled and other nifty points

about blocking

What’s Blocking All About?

 Blocking is needed to account for what is going on with the actors throughout the show.

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  This is to benefit and help the director and actors as well as to show to the lighting

designer, so they will know where to light when

 Throughout the rehearsal process, actors may add or subtract points of their blocking it

is your job as a stage manager to remind them what they actually need to be doing

 In productions, there is always a possibility of actors being replaced or of actors coming

and going. In these cases, it’s good for the SM to have the blocking in case the director is

no longer with the show or the director is too busy

 If we have the blocking, we can have an ASM fill in for an actor if needed

 There is also something called graphic blocking (examples will be attached!). This is

basically writing where the actors are at the beginning and end of scenes in the cases of

bigger ensembles.

Unconventional Blocking:

 Sometimes, typically in a black box space, we will have various different playing spaces

which becomes hard to block out. In these cases, there has to be heavy conversation

with the director and design team to designate the main playing areas and how we will

block with them.

 Most of the time we use compass directions (North, South, East, West)

 Consistency is the most important thing in these cases

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 Preparations for the Rehearsal Period

Cast List Preparation:

 In this profession it is very important to be able to contact any actor at the drop of a hat,

so you need to compile a cast list with all the actor given information received at

auditions or callbacks. The list should include the character, full name of the actor who

plays the character exactly as that actor wishes the name to appear in the program,

address, home phone, cell phone, work or business phone, service number, e-mail

address, agent’s name, and agent’s phone number

 Make sure to check with the cast for accuracy

 This list will be distributed to all designers, director, ASM’s, and maybe even the cast

Your Duties Before Rehearsal:

 Typically arrive 30-40minutes earlier than the actual call time

 Post the actor/crew sign in list

 Post the schedule for the day

 Make sure all doors to the space are unlocked that need to be

 Make sure the pace is accurately taped out, whether it is the full stage or just set pieces

taped out, whichever is needed

 Setting up any furniture or set pieces needed on stage

 Set up any rehearsal/actual props that will be needed for the rehearsal

 Sweep and mop the stage

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  Make sur the temperature of the space is okay

 Check the space for anything unsafe or out of the ordinary

 If needed, set up tables or an area for you and your director and any of the design team

to take notes or take down blocking

 Make sure all necessary lights are on

 Post any script changes or prop changes

 Post any directors notes or designer notes

 Post reminders about costume fittings or publicity events that the actors should be

aware of

Your Duties at Rehearsal:

 Taking down any blocking given during rehearsal

 Being able to fill actors in on blocking they forgot

 Call all cues when that time comes around

 Spike set pieces that get added

 Watch run for mistakes in blocking

 Addressing questions to the director about aspects of the show

 Make note of important questions or changes for the rehearsal report

 See the Assistant Stage Manager section for information about their tasks

 Write down any questions pertaining to the meeting held after rehearsal

 Greet actors, see how everyone is doing, make sure they all sign in, ask late actors why

they were late, call missing or late actors

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Your Duties After Rehearsal/Outside of Rehearsal:

 Clean any mess that has been left by actors

 Put away all props and set pieces that need it

 Put away tables and chairs set up for the director and SM to take notes at

 Check in with scene shop and costume shop to stay connected and up to date

 Let the actors know their next call time and where the rehearsal will be

Daily SM Meetings:

 These will be held after the rehearsal concludes. They will typically include the SM and

his/her assistance and occasionally the director if they have anything to contribute.

 Talk about what to do at the next rehearsal that’s happening

 If the SM and ASM were in two separate parts of the rehearsal, bring each other up to

speed on what was dine and share notes, so they can all be included in the rehearsal

report

 Discuss any concerns or questions that came up during the rehearsal

 Make a checklist for exactly what needs to happen in the next rehearsal

 Make sure everyone isn’t too stressed out, you need to continue to fairly be giving out

assignments

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Rehearsal Reports:

 The rehearsal report is a summary of what happened that day at rehearsal along with

basically all of the information that is important that occurred. You’ve got to be keeping

notes of anything that will need to go in this report throughout the rehearsal.

 Have a form created that works for you and that will be able to hold all the important

info

 All the information must be relevant to the report

 Following is the important information to include on the report:

 Absences or lateness of the cast or crew include a reason if there was one

given

 Who is called for the rehearsal that day

 Schedule of what happened at rehearsal, times corresponding to who

was being used and what they were doing

 Any props/scenery notes or concerns

 Any script changes of any kind

 Miscellaneous questions for designers or director

 Name of the show, producing organization, date, author, who the report

goes to, the director, the theatre company

 Any sound additions, notes, or concerns

 Lighting/Electrics questions, notes, additions, or concerns, they also need

to be alerted if there are any changes in blocking

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 Accidents/Injuries of any kind, a full accident report needs to be filled out

also

 Delays and what the reasons were for any that occur

 Any questions, additions, ideas from director, or concerns for the

costume department

 Contact information of the SM

 Location of rehearsal

 Time (beginning and end of rehearsal

 When and where the next rehearsal is going to be

 Any upcoming production meetings? Who is called for them? When and

where will it be?

 Dramaturgy questions to assist the show as a whole

 Any questions or concerns to the owners of the space or people who are

in charge

 Special Effects or Video questions, additions, concerns, or ideas

 Choreography questions, additions, safety concerns, etc.

 Music direction notes, questions, concerns, etc.

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 Use of Assistant Stage Managers

Tasks of Your Assistant:

 Assistants will be used for the less important aspects of the show, so the main SM can

focus on the prompt book

 Taking line notes when actors drop a line, skip a line, mess up a line, jump a line, etc.

 Being on book for actors if they call for line

 Must be aware if all lines need to be word perfect

 Make sure all the props are set correctly and are in order

 Be ready to deal with actor’s questions or concerns unrelated to blocking

 Be aware of the shorthand key for line notes (C—called for line or went up on line, P—

paraphrased, BB—bobbled, L—late (cite cue to actor), PR—pronunciation, J—jumped

cue, H—handle—added extra word not in script prior to line, S—sequence, jumped out

of)

 Any little things that’ll make your life easier can be tasks they can pick up

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 Preparing Your Space for Rehearsals

Taping out Space

 To tape out a space you need a tape measure, cloth spike tape, possibly a chalk line, and

measurements to scale of the space needed to be taped

 Basically, you start by finding your center line of the space, use the tape measure to

measure across the space to find the ideal middle that will work best for our conditions.

If using a chalk line, the line is placed and snapped on the centerline and then it is taped

in the cloth spike tape

 The plaster line is the next important part. In your measurements and your knowledge

of the blocking you should know the exact point to put the plaster line (make sure if the

actors need the apron then there is enough space for that to happen). The plaster line is

taped out with the same process as the center line.

 With this base down we will be able to put some markers to show where you can enter

and exit the space and where exactly the ends of the stage are

 If there are any set pieces they should be measured across from centerline and then

down from the plaster line. Their upstage and offstage corners should be spiked out, so

you can see where they are located. (in a black box we measure from the set line

opposed to a plaster line)

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 Working with Your Director

Right Hand Man:

 Just like you have assistants, we will act as an assistant to the director. Our job for them

is to get the most effective and productive results

 It is the directors job to make creative decisions and to interpret the show, our job is to

help to expedite the rehearsals, so the director can have as much time as possible to

work with the cast and also the stage manager must accept responsibility of all the

technical sides of things, its our job to make sure it all runs smoothly

 The tricky thing is that the SM must not step on any toes, we have absolutely no say in

any artistic direction unless we are explicitly asked for an opinion.

 The SM should always be a step ahead of their director, and be ready for anything at all

to be thrown at them

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 Essential Theatre Safety

Fire’s, Firearms, And Everything Else:

 First things first, fire safety!! Make sure to let everyone in the audience and in the cast

and crew where their safest exit option will be in the event of a fire

 Early on in the rehearsal process a fire Marshall should visit you, so they can inspect

your set and make sure the whole area is safe and fire proof

 It’s a good idea to post backstage a detailed plan if a fire commences

 In terms of firearm use in a show you must be VERY VERY careful in these cases. You will

lock up the gun before and after the show and you will be the only one with access to

the safe in which it is located.

 Shows either use completely fake guns accompanied with a gun shot sound which is a

sound effect or blanks are used

 All guns need to be treated as though they are armed and dangerous! You never know

what they will do

 If in a touring show, you must check state and federal lines before carrying a firearm

over state or country lines

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 Writing and Calling Cues and Technical Rehearsals

Technical Rehearsals:

 The point of technical rehearsals is to coordinate and integrate the light, sound, special

effects, and scene changes within a production.

 You will continue to be the middle man between all aspects of the production when you

begin this process, you are making sure everyone else’s visions are being carried out

perfectly.

 During technical rehearsal you will prepare for many little things, one of those little

things is if an actors line that carries a cute is dropped or if something like that happens,

plan early on.

 There will be full production meetings basically after every technical rehearsals to speak

of what could be better or if anything needs to be changed

 During tech, it is your responsibility to give your assistants and any stage hands their

tasks and exactly what they need to do which should be specified on the plots made

throughput the process. You can place your ASM in charge of the backstage world while

you are trying to figure out your cue situation.

 Organization is key during this point of your job!

 If glow tape is used make sure it always gets charged before a performance, make it a

task for one of the stage hands

 Another thing about glow tape, ask actors if they need it!! They become scared to speak

up about it, but we care about their safety

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  Pre and Post Sow Lists should be created and strictly followed at all times

 Figure out if you’re using headsets

 Sometimes you get to use a god mic! Make sure what you’re using this everyone is

around to hear what you gotta say.

 Once we get to dress, all technicians need to be in their places at five minutes and all

actors must be backstage at half hour and at places when places are called

 Places are called 2 minutes before “house to half” is announced

Cues and All Their Fun!

 Cues!! These are what you’re here for, your biggest job! You’ll be calling every cue you

can think of, from lowering the house lights to cuing the fatal gun shot should to making

the fog machine start, it will all fall on you once technical rehearsals begin.

 First, we can talk about writing cues in your script, ill attach some examples to see a

visual model of this. It’s pretty simple!

 The cutes will go in the right-hand margin of the prompt book script, so it will be easy to

flip fast and see the cues automatically

 The better the pattern that you have, the easier to follow, the more successful you will

be!

 Now well touch a little bit on the calling of cues

 At the top of your page you can include warnings if there are going to be a whole ton of

cues getting called on that page. It’ll get your crew to pipe up and be ready to get

through the fast, important cues that are about to occur

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 These warnings will always get a response, so you know that everyone is aware of what

is about to happen.

 Before half hour strikes for dress rehearsals or for performance we must do a dark

check, this entails that we turn all the lights we can off to make sur no weird random

light is on

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I hope you’ve learned a lot about being a pretty decent Stage Manager!

Good luck out there and remember,

NEVER assume, ALWAYS communicate

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