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A “Wicked” Comparison of Commercial, Freelance and Academic Stage Management to Develop Best Practices and Techniques for the Practical Stage Manager

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A “Wicked” Comparison of Commercial, Freelance and Academic Stage Management to Develop Best Practices and Techniques for the Practical Stage Manager A “Wicked” Comparison of Commercial, Freelance and Academic Stage Management to develop Best Practices and Techniques for the Practical Stage Manager THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Eric Hans Mayer Graduate Program in Theatre The Ohio State University 2011 Master's Examination Committee: Professor Mark Shanda, M.F.A., Advisor Professor Mary Tarantino, M.F.A. Professor Lesley Ferris, Ph.D. Copyright by Eric Hans Mayer 2011 Abstract A “Wicked” Comparison of Commercial, Freelance and Academic Stage Management to develop Best Practices and Techniques for the Practical Stage Manager examines three book musicals produced in three different theatrical venues to identify key principles and essential methodology of a practical stage manager. Once established, through experience, review and analysis, a sampling of those principles will be applied and tested under the most extreme conditions – a new devised work created by the Department of Theatre during the 2010-2011 academic year and fully mounted spring quarter 2011 – The Camouflage Project. ii This document is dedicated to my Mom and Dad for their years of never ending love and support, John Snedeker for never saying no, and to my stage management colleagues Allison Walker, Emily Thiel, Brandon Curtis, Sarah Helgesen, and Sarah Hurwitz. iii Acknowledgments I am indebted to my many colleagues at The Ohio State University for the support they have given to me. Without their support this degree would not have come to fruition. In particular, the support of Rachel Barnes, Jaclyn Benedict, Lesley Ferris, Mandy Fox, Dan Gray, Matt Hazard, Jim Knapp, Alex Kyle-DiPietropaolo, Chad Mahan, Janet Parrott, Joy Reilly, Beth Josephsen Simon, Mary Tarantino, Jeanine Thompson, and Chris Zinkon has helped me to survive every experience and make them each enjoyable, educational and sometimes both. A very deep heartfelt thanks goes to my friends at Wicked, namely Thom Widmann, Marybeth Abel, Jennifer Marik, Christy Ney, Jason Daunter, Kathy Fitzgerald, Peter VanDyke, Amy Tepel, and Rolando Linares. Your dedication to your work and the people that make up the Wicked family is to be commended and will forever inspire me. Last, but not least, I will be forever grateful to Steven C. Anderson and Mark Shanda for your insight, words of encouragement, words of guidance and optimistic outlook which have helped me mature as both a stage manager and as an individual. iv Vita 1998................................................................Portsmouth High School 2003................................................................B.A. Theatre, The Ohio State University 2003-2011 ......................................................Freelance Stage Manager 2007................................................................The Secret Garden, Stage Manager 2009................................................................The Miracle Worker, Stage Manager 2009................................................................M.F.A. Acting Solo Projects, Stage Manager 2009................................................................M.F.A. Acting Showcase, Stage Manager 2010................................................................Wicked, Stage Management Intern 2010................................................................Aida, Stage Manager 2011................................................................Cinderella, Stage Manager (BalletMet) 2011................................................................The Camouflage Project, Stage Manager Fields of Study Major Field: Theatre Area of Emphasis: Stage Management v Table of Contents Abstract ............................................................................................................................... ii Acknowledgments.............................................................................................................. iv Vita ...................................................................................................................................... v Table of Contents ............................................................................................................... vi List of Tables ................................................................................................................... viii List of Figures .................................................................................................................... ix Chapter 1: Definition of Stage Manager ............................................................................ 1 Chapter 2: Lessons in “Defying Gravity”: Wicked ........................................................... 17 Chapter 3: “Show Me the Key”: The Secret Garden ........................................................ 49 Chapter 4: “My Strongest Suit”: Aida .............................................................................. 63 Chapter 5: Key Principles and Essential Methodology .................................................... 90 Chapter 6: The Camouflage Project ............................................................................... 102 Chapter 7: Conclusion..................................................................................................... 110 Bibliography ................................................................................................................... 129 Appendix A: Definition of the Duties of a Stage Manager ............................................ 131 Appendix B: Ohio State Theatre Company Rules .......................................................... 133 vi Appendix C: Performance Report ................................................................................... 136 Appendix D: Actor Tracking for Aida ............................................................................ 138 Appendix E: Props Tracking for Aida ............................................................................ 140 Appendix F: Key Principles and Essential Methodology of a Stage Manager ............... 142 Appendix G: The Camouflage Project Observations Email ........................................... 143 Appendix H: Sample page from The Camouflage Project ............................................. 146 Appendix I: Blocking Notation Process using Adobe Acrobat ...................................... 148 vii List of Tables Table 1. AEA Definition of Duties of a Stage Manager ..................................................... 4 Table 2. Rehearsal Preparation Deadlines ...................................................................... 104 viii List of Figures Figure 1. Sample Wicked Understudies, Swings and Specialities reference chart. .......... 22 Figure 2. Complete stage breakdown. ............................................................................... 27 Figure 3. Scene Work & Put-In Rehearsal Breakdown for Kathy Fitzgerald. ................. 29 Figure 4. Layout of primary panel of cue light switches. ................................................. 35 Figure 5. Diagram of primary panel of cue light switches indicating master control. ..... 36 Figure 6. Wicked Calling Script and diagram of associated cue lights. ............................ 37 Figure 7. Wicked Calling Script and diagram of associated cue lights. ............................ 38 Figure 8. Stage Right Deck Stage Manager run sheet, Act I, scene 1. ............................. 40 Figure 9. Excerpt from Wicked performance report ......................................................... 44 Figure 10. Deck and Rail Cues for The Secret Garden. ................................................... 59 Figure 11. Page I-2-10a from the Wicked Blocking Script. .............................................. 76 Figure 12. Museum ground plan for Aida, Act I Prologue and Act II Epilogue. ............. 76 Figure 13. Baths ground plan for Aida, Act I, scene 5. ..................................................... 77 Figure 14. Symbols from the Schneider Notation System. ............................................... 79 Figure 15. Line notes for The Camouflage Project rehearsal on April 9, 2011. ............ 122 Figure 16. Page from blocking script for The Camouflage Project. ............................... 126 ix Chapter 1: Definition of Stage Manager My first introduction to a theatrical stage manager was during a high school production of The Sound of Music in which I was cast to play the role of Rolf. An upper level student was assigned to serve as the stage manager and her primary responsibility was to sit offstage against the main curtain so that she could literally prompt actors who forgot their lines. Needless to say, the role of the stage manager did not leave a lasting impression. My first real introduction to an effective stage manager was in college shortly after declaring a major in Theatre. Wanting a more stable career than that of an actor I turned my focus to sound design (while lighting was also a fascinating option, I could not figure out how I would have a stable career as a color blind lighting designer). To this day I remember sitting with fellow undergraduate crew member Mollie Workman at the first tech of Orpheus Descending (The Ohio State University, 2000) and asking her something along the lines of “who is that person organizing everything and telling everyone what to do? That‟s what I want to do!” Mollie responded, “That is the stage manager, Kristen Kidd.” From that point on I
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