Department of Theatre Stage Management Manual Revised 08.09.19
Department of Theatre Stage Management Manual
TABLE OF CONTENTS PREFACE 4 INTRODUCTION 4 WHO’S WHO ON THE PRODUCTION TEAM 5 WHAT IS A STAGE MANAGER 6-7 RESPONSIBILITIES 7 TOOLS OF A STAGE MANAGER 8-17 PAPERWORK 8-14 REHEARSAL CALENDAR 8-9 WEEKLY/DAILY CALL 9 PRODUCTION (SCRIPT) ANALYSIS 9 CHARACTER/SCENE BREAKDOWN 9-10 PROP TRACKING PLOT / PROP PRESET CHECKLIST 10 AUDITION FORM 10-11 CONTACT LIST 11 BACKSTAGE RUN SHEET 11 SHIFT PLOT 11-12 PROMPT BOOK 12 LINE NOTES 13 REHEARSAL/ PERFORMANCE REPORTS & PRODUCTION MEETING MINUTES 13-14 OUTSIDE PAPERWORK 14-15 COSTUME FITTING REQUEST 14 PROGRAM BIO INFORMATION 14-15 CALL BOARD 15 COMMUNICATION 15 DAILY CHECK-IN 16 PRODUCTION MEETINGS 16 SM KIT 17 LIFE OF A STAGE MANAGER 18-27 AUDITIONS 18-19 PRIOR TO AUDITIONS 18 AUDITIONS 18 AFTER AUDITIONS 19 REHEARSALS 19-21 PRIOR TO REHEARSALS 19-20 FIRST REHEARSAL 20 NIGHTLY REHEARSALS 20-21 AFTER NIGHTLY REHEARSALS 21 CREW VIEW / DESIGNER RUN 21 PUBLICITY PHOTOS 21 TECH WEEK 22-26 PENULTIMATE PRODUCTION MEETING 22 PRIOR TO TECH 22 PAPER TECH 23 SITZPROBE 23 “DRY” TECH 23 TECH 24-25 DRESS REHEARSALS 25 FIGHT CALL 26 FINAL DRESS (INVITED DRESS / ARCHIVAL PHOTOS) 26 PERFORMANCES AND AFTER 26-27
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PERFORMANCES 26 BRUSH UP REHEARSAL 27 CLOSING 27 STRIKE 27 DEPARTMENT POLICIES 28-29 ELECTRONIC DEVICES 28 FOOD AND BEVERAGE 28 KEYS 28 PHOTOGRAPHY / VIDEO 28-29 VISITORS 29 DEPARTMENT PROCEDURES 30-32 TECHNICAL ISSUES 30 EMERGENCIES 30 SEVERE WEATHER 31 EMERGENCY ANNOUNCEMENTS 31-32 SEVERE WEATHER 31 FIRE 31 MEDICAL EMERGENCY 31 POWER OUTAGE / TECHNICAL DIFFICULTIES 32 CANCELLED PERFORMANCE 32 CANCELLATIONS / CLOSINGS 32 ADDENDUMS 32-44 1: REHEARSAL CALENDAR 33 2: WEEKLY/DAILY CALL 34 3: PRODUCTION (SCRIPT) ANALYSIS 35 4: CHARACTER/SCENE BREAKDOWN 36 5: PROP TRACKING PLOT 37 6: CONTACT LIST 38 7: BACKSTAGE RUN SHEET 39 8: SHIFT PLOT 40 9: LINE NOTES 41 10: REHEARSAL REPORT 42 11: PERFORMANCE REPORT 43 12: PRODUCTION MEETING MINUTES 44 13: JOB DESCRIPTION, RESPONSIBILITIES & TIMELINE: STAGE MANAGER 45-48 14: JOB DESCRIPTION, RESPONSIBILITIES & TIMELINE: ASSISTANT STAGE MANAGER 49-51 15: JOB DESCRIPTION, RESPONSIBILITIES & TIMELINE: PROP MASTER 52-54 16: JOB DESCRIPTION, RESPONSIBILITIES & TIMELINE: SOUND DESIGNER/BOARD OP 55-56
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PREFACE This manual is provided as a source of information and supplemental to the Department of Theatre Student Handbook. Policies contained in this manual are believed to be current at the time of writing, but may be changed at any time. Any changes will be will be appropriately disseminated. The Department of Theatre disclaims liability for any errors or omissions.
This manual is not intended to supersede any policy of Purdue University Fort Wayne and any real discrepancy between policies in this manual and those in the Undergraduate Catalog are inadvertent. In the event that any policy in the manual inadvertently contradicts official University policy as outlined in the Catalog, the Catalog takes precedence although the Department maintains the right to make changes in Departmental policy and curricula so long as those changes are permitted by University policy.
If you seek additional Department information including box office or current Faculty & Staff contact information, please visit us at: https://www.pfw.edu/theatre/.
INTRODUCTION Thank you for accepting one of the most important roles in any production: a Stage Management team member. Please take the time to read this manual before your role begins and refer to it often throughout the production process. This manual, a supplement to the Department Student Handbook, will assist you in your journey and hopefully, empower you to be the most effective you can be.
In order to develop consistent expectations from our Directors, our Stage Managers need to perform at a similar level and with a similar approach. As is the case from company to company, you may find slight differences in the way we operate but the intention is that this manual outlines our Department’s expectations for the SM, ASM and Crew based on the standard processes found in the professional world.
You will likely have many questions as a member of the Stage Management team (even more so since this is an academic environment). Questions are a good thing; it means that you are actively trying to improve yourself and the process; an effective Stage Manager always seeks to do just that. However, take a moment to evaluate your question; if it involves understanding the preferences of or developing a rapport with your director then you are encouraged to discuss it with them. If your question pertains to unaddressed production elements, then, likely the entire Production Team should be part of the conversation. If your question is about how to execute the functions of Stage Management as a whole, you should come to me since I am your Stage Management Mentor and defacto Production Manager. You are encouraged and expected to check-in with me often for training, guidance and in general, to keep me in the loop; I cannot help you or others if I am not made aware of the whole picture.
Let me be the first to thank you for accepting this great responsibility. Everything you do will contribute to the quality of the production experience for everyone, especially our audiences. Your hard work and dedication is greatly appreciated. Break a leg!
- Robert Shoquist, Stage Management Mentor
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WHO’S WHO ON THE PRODUCTION TEAM? Responsibilities, duties and organization structure may vary by company and/or production. • Producer. Oversees the production as a whole; arranges financing and allocates budgets, selects the production, dates and venues and typically hires personnel. Is the default manager/supervisor. At PFW, the Department Chair serves in this capacity. • Director: Responsible for the overall artistic vision of a production; typically selects the Cast. • Asst. Director (AD) assists the Director as needed or acts in their stead. • Designers (Scenic, Light, Costume & Sound): Illustrates the Directors’ vision within their various disciplines. • Associate Designers assist the Designers as needed or act in their stead. May design significant portions of the show. Delegated to by the Designer. • Asst. Designer: assist the Designers as needed. May design small portions of the show. Delegated to by the Designer. • Production Manager: Facilitates the production as a whole. Creates and maintains production schedule, supervises Stage Management & Backstage Crew. • Stage Manager (SM): Executes the show by calling cues and coordinating Cast/Crew. Facilitates communication. Directed by the Director; supervised by the Production Manager. • Asst. Stage Manager (ASM): Typically assists the SM with rehearsal duties such as Line Notes or prop tracking. Coordinates logistics and Backstage Crew during the Run. Delegated to by the SM. • Technical Director (TD): Coordinates the build and load-in of scenic elements per the needs of the Scenic Designer. At PFW, the TD handles many Production Manager tasks. • Costume Shop Supervisor: Coordinates the build and load-in of costumes per the needs of the Costume Designer. Supervises the Wardrobe and Makeup Crews. • Master Electrician (ME): Coordinates the load-in and maintenance of lighting and effects per the needs of the designer. May performs pre-show light/SFX checks. Supervised by the Lighting Designer. • Prop Master: Builds or procures props based on Director’s needs and the Designers’ vision. May aid Stage Management in training Crew on prop tracking. Supervised by the TD • Music Director: Shapes the melodic artistry of Actors and Musicians. Supervises the Orchestra. • Choreographer: Develops the coordinated movement of the Actors/Dancers set to music. • Dance Captain: Cast member tasked with learning all choreography to assist in re-teaching, clean up and dance warm-ups. Managed by SM; supervised by Choreographer. • Fight Director: Develops the coordinated fight movement of the Actors. • Fight Captain: Cast member who facilitates the daily Fight Call and adherence to predetermined fight choreography and safety measures. Managed by the SM; supervised by Fight Director. • Backstage (Deck) Crew incl. Prop/Fly Crew: Executes backstage logistics such as Pre/Post-show set up/presets, cleaning, scenery shifts, flies and presetting/tracking props. Managed by Stage Management; supervised by Production Manager. • Dressers, Wardrobe or Makeup: Executes specific tasks to ensure a smooth and efficient production. Managed by Stage Management; supervised by Costume Shop Supervisor and/or Costume Designer. • Board/Spot Operators: Executes light or sound cues or spotlights. Managed by Stage Management; supervised by Lighting/Sound Designers. • House Manager: Coordinates the safe and efficient logistics between box office, audience, ushers and Stage Management. • Ushers: Facilitates audience comfort, gives directions, distributes programs and collects tickets. Supervised by the House Manager. • Actors/Dancers: Creates character and executes the Director’s vision. Managed by Stage Management; supervised by the Director.
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WHAT IS A STAGE MANAGER?
Stage Management consists of the Stage Manager and the Asst. Stage Manager(s). The delineation of duties between the SM and ASM varies per production and per company. The SM will need to determine which items to delegate to the ASM. (In this manual, typical duties delegated to the ASM are listed whenever possible). The buck stops at the top with the SM however, so, with delegation comes follow-up to make sure it’s done correctly and efficiently.
Stage Management is an art and mastery of it is the key to a productive rehearsal period and an successful production. Although your duties are detailed through this manual, your talents as a self-motivated individual are equally important; as are: Organization Patience Humor Dependability Leadership Attention to Detail Self-Control Artistry Diplomacy Communication Punctuality Flexibility
Stage Management is responsible for two basic production needs: • The safe and efficient execution of Rehearsal/Performance per the Director’s vision. • Facilitating communication between all Cast, Crew and Production Team.
Stage Management is the glue between the Director, Cast, Crew and the Production Team. They oversee the logistics of implementation on stage. They are an observer and listener who identifies opportunities and attempts to determine which specific individuals or departments may be responsible and facilitates discussion. Confidentiality is also a huge component of a Stage Manager’s job; much of what you are privy to is sensitive so you will be expected to keep many confidences, use discretion and maintain privacy
The SM/ASM is not the Producer, Director, Choreographer, Designer, Music Director, Fight Director, TD or Costume Shop Supervisor. Stage Management never usurps authority but instead seeks to find and communicate the appropriate response or answer from the person who is responsible.
Ultimately, Stage Management’s job is to drive the bus forward. If things are left behind, Stage Management coordinates a process to get back on track - slowing as needed but never coming to a screeching halt. Stage Management can overcome nearly any obstacle by properly identifying the issue and communicating effectively with the appropriate individual(s).
Your skill as a SM/ASM will develop and evolve over time and you are empowered to refine what works best for you. The day-to-day challenges of a Stage Management may seem overwhelming but you are encouraged you to take a deep breath and adopt the old adage “never let ‘em see you sweat.” People will be looking to you to remain in control as circumstances arise that will require your flexibility, patience, and finesse in managing multiple people in stressful situations. Remember: be tactful, timely and specific!
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RESPONSIBILITIES Job descriptions, responsibilities and timeline for the following positions are listed at the end of this document (see addendums 13-16):
Stage Manager Assistant Stage Manager Prop Master Sound Board Op
Stage Management on the whole is defined throughout this document. Each production is unique; please remain flexible to the evolving production needs. Responsibilities may be added or subtracted as needed.
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TOOLS OF A STAGE MANAGER
PAPERWORK Stage Management is responsible for creating lists, forms, calendars and schedules to manage the production (also known as “paperwork”.) • Be sure to present the information in the most beneficial way possible to communicate effectively, reduce waste and eliminate confusion. Remember: be tactful, timely and specific! • Use a standard font available across all platforms (i.e. Arial, Helvetica or Times New Roman.) • Take advantage of adjustable margins, columns, tables, shading, font sizes, bolding, underlining etc. • Remember paperwork will likely be photocopied or printed in B&W; color text or highlighting will be eliminated and may create confusion. • Paperwork should be kept up-to-date and readily available at all times. • Paperwork should always be identified by ‘document name” in the header. A ‘version number’, ‘date’ and page number ‘x of x’ should be included in the footer. • Non-interactive documents (Rehearsal Calendar, Weekly/Daily Call, Contact Sheet, meeting Minutes, Rehearsal Reports) should be distributed as PDF’s so that they cannot be altered and thus eliminating confusion by unauthorized edits. • Interactive documents (Production Analysis, Prop Tracking Plot, Prop Preset Checklist, Backstage Run Sheet or Shift Plot) should be saved in file formats that are able to be opened across all platforms (i.e. .doc or .xls) so if they are distributed, they can be altered/updated. • Photocopies of all production paperwork are free using the Department copier; see the Department Secretary for assistance. The paperwork listed next is not an exhaustive list; Stage Management may develop additional paperwork as needed. Stage Management should have paperwork completed prior to the start of production meetings and rehearsals. Examples of each are provided as addendums (see TD for digital copies) and can be reformatted as needed.
REHEARSAL CALENDAR The general schedule of all Rehearsal, Tech/Dress and Performances. It is not the Weekly/Daily Call. See addendum #1. • Developed in conjunction with the Director, Choreographer, Music Director with input from the Production Team and Shop Supervisors. • Ideally this would be reflected in calendar format for visual context and should be easily be able to be printed (Calendar programs i.e. outlook or gmail are not an effective way to create these calendars as they typically need to be expanded to view all of the information; it is suggested that Word or Excel tables are utilized instead.) • Developed prior to auditions and posted and/or distributed during so that the Actors understand the overall time commitment. • Should include all Rehearsal, Tech/Dress, Performances, holidays, Off-Book Dates, Photo Calls, Designer Run, Crew View, Previews and Strike. May include conflicts that’s affect a significant portion of the Cast/Crew (i.e. another show’s performances.) • Should be easy to read, consistently formatted and without complicated visuals or fonts.
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• When updating, past occurrences can be removed but changes should be struckthrough whenever possible so that it calls attention to the change. • Should be kept up to date, posted on the call board and emailed to all Cast, Crew and the Production Team every time it is updated. • Will be expanded upon by the Weekly/Daily Call.
WEEKLY/DAILY CALL The specific schedule of all called Rehearsal incl. Tech/Dress and Performances. Expands on the Rehearsal Schedule and may be updated and distributed weekly/daily as needed. • Developed in conjunction with the Director, Choreographer, Music Director with input from the Production Team and Shop Supervisors. See addendum #2. • Includes all the relevant information for everyone called at a particular rehearsal/call including, date, time and room. • Should include all Rehearsal, Tech/Dress, Performances, holidays, Off-Book Dates, Photo Calls, Designer Run, Crew View, Previews and Strike. Can include exceptions or conflicts when necessary to ensure compliance. • Should be easy to read, consistently formatted and without complicated visuals or fonts. • When updating, past occurrences can be removed but changes should be struckthrough whenever possible so that it brings attention to the change. • Should be kept up to date, posted on the Call Board and emailed to all Cast, Crew and the Production Team every time it is updated.
PRODUCTION (SCRIPT) ANALYSIS Details every instance of a set piece, prop, costume, lighting effect, sound cue, SFX etc.as mentioned in the script that may be utilized during the production. See addendum #3. • This information is now at the ready during production meetings and the rehearsal process to help ensure that details are not forgotten or - and, maybe more importantly - not forgotten to be shared with you. • If you noted a detail that is not being discussed, you shouldn’t presume that it has been cut; instead, you should bring it to the Production Team’s attention so that it can be addressed. • As items are added or subtracted from the production, they should be updated and reflected in the analysis. • This analysis is the basis from which the Prop Tracking Plot and Shift Plot are generated. • It’s very likely that you will be expected to have a rehearsal stand-in for many, if not all of the items within the analysis, so be thorough.
CHARACTER/SCENE BREAKDOWN Details entrances and exits of every character and who’s on stage for every page of the script. It is invaluable for creating the Rehearsal Calendar and daily calls and for creating French scenes. See addendum #4. • For EVERY page of the script, notate every character on that page. Identify their entrance (E) and exit (X) and if they are offstage (OS), voiceover (VO) etc. (or similar.) • Shade the portion of the row when someone is onstage or speaking. • Including both character and actor names can be helpful especially for large casts. This
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could then be used to create Cast/Callback List, Contact Sheet and/or Sign-in Sheet. • Actors playing multiple roles should have a separate line for each character and be grouped together. Or if one row is used for that track, use the first letter of the character: EP for Enter Paul etc. • Group into Act/Scenes and include time of day/location if provided by script. Also include any scene nicknames and/or song titles for a musical. • Include a key to understand your notation. • If a scene break occurs in the middle of the script page, that script page number should be repeated for the new act/scene grouping.
PROP TRACKING PLOT / PROP PRESET CHECKLIST The Prop Tracking Plot the exact entrance and exit every time a prop is on stage during the rehearsal process. Includes the page a prop enters, who brings it on and where it enters, as well as, the page a prop exits, who takes it off and where it exits. See addendum #5. • Use the Production (Script) Analysis you developed as a starting place to create the Prop Tracking Plot. • At any given time, Stage Management should be able to detail the exact intended location of a prop either onstage or offstage and be able to track how it got there and where it’s going. This is key if a prop returns after having been introduced during a previous scene. Don’t let prop tracking fall to the Cast by default. This is an essential piece of paperwork and your diligence in keeping it up to date as rehearsals unfold will benefit everyone greatly, especially the Prop Crew beginning at Tech. • Prior to Tech, Stage Management is responsible for the daily logistics of props and ensuring that the prop tables are organized prior to and after each rehearsal. • Prior to Tech the SM (or ASM in charge of props) should make the Prop Preset Checklist by sorting all of the prop presets on the completed Prop Tracking Plot by different preset locations onstage or backstage incl. or prop tables • Prop Preset Checklist could be arranged by act(s) so that the Prop Crew can see what needs to be changed during Intermission. • Prop Preset Checklist includes check-off boxes arranged by date so that the item can be checked off as part of Pre-show or Intermission duties. • Once Tech begins, the Prop Crew should assume responsibility for props and be utilize the Prop Preset Checklist instead. Don’t forget to give Crew this paperwork.
A NOTE ABOUT PROPS: • All prop requests should come from the Director and should be noted in the Rehearsal Report as soon as they are known and thus recorded on your Prop Tracking Plot. • When requesting props it is helpful to notate the page and Actor using the prop, any specifics (color or function) as requested by the Director and when that prop will be needed in rehearsal by so that the prop master can plan accordingly. • Stage Management should not be procuring or repairing props in lieu of the Prop Master.
AUDITION FORM Collects contact information, age, height, weight. hair color, vocal/dance abilities, and scheduling conflicts from auditioners. See addendum #X.
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• At PFW, we utilize an existing departmental form for consistency; see the Department Secretary for a copy. • You may be asked to create a supplemental form if the Director requests the collection of additional information; discuss with them on the content and shape it should take. • After auditions, these forms should be retained by the Director for the casting process. • Once the Cast List is posted you can request to view them to obtain contact information.
CONTACT LIST Details the Cast, Crew and Production Team’s contact information. Includes name, character/job title, email and phone number of all persons involved in the show. See addendum #6. • List the characters/contacts in alphabetical order, as they are listed in the script or in the order of appearance. This can be then used when creating Cast List, Character/Scene Breakdown and/or Sign-in Sheet. • The Crew and Production Team should be separated from Cast. • On your copy may want to add a column that details all conflicts of the Cast or Crew direct from the information gathered on the Audition Form. • Proofread thoroughly prior to distributing; multiple versions may be created as mistakes and omissions are corrected. • Contact information should be considered confidential and should not be posted on the Call Board; it can be emailed to the Cast, Crew and the Production Team.
BACKSTAGE RUN SHEET Lists all of the times and duties of SM, ASM and Crew during Pre-show, during Intermission(s) and Post-show; includes all backstage calls as well. See addendum #7. • You should maintain a master list. The master can be sorted into separate lists that only includes the information relevant to a specific member: SM, ASM (SR or SL could have even separate lists.) or Crew. • Will evolve from daily rehearsal duties and into the duties needed during Performances as more elements and personnel are introduced into the process. • It should be continually updated and as complete as possible prior to Tech; it will likely be amended multiple times during Tech/Dress as logistics solidify. • Every task and call should be documented so not to forget and if needed to train replacement Crew. • Whenever possible, the ASM or Crew who performs a duty should remain constant throughout Tech/Dress and Performances.
SHIFT PLOT Similar to the Backstage Run Sheet; however it only concerns what happens during the actual run of the show to props, flies or scenery/furniture. Includes, when, who, where, what, spike color (if needed) and notes. See addendum #8. • Will evolve from daily rehearsal duties and into the duties needed during the Run as more elements and personnel are introduced into the process. • It should be continually updated and as complete as possible prior to Tech; it will likely be amended multiple times during Tech/Dress as logistics solidify.
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• Every shift should be documented so not to forget and if needed to train replacement Crew. • Whenever possible, the ASM or Crew (or Actor) who performs a duty should remain constant throughout Tech/Dress and Performances. • Can be a separate plot or combined into the Backstage Run Sheet if needed.
PROMPT BOOK The collection of all paperwork, blocking notation, cues and the script that is used to manage the production. Often referred to as “the Book”. • Your book should be made with a 2”-3” D ring binder and include a table of contents and tabs separating all of the different paperwork. • The script is printed single sided with a healthy outside margin. On the backside of the script (the opposite page when opened) is the Backing Page which you will create with a printed ground plan (get a .jpg from the scenic designer of each location) and double- spaced lines to record blocking. Below is an example for a right-handed Stage Manager; reverse this for a left-handed SM. • One each page, number each notation of blocking and insert that number into the exact spot in the script. This method allows your blocking notation to be more readable and not interfere with your reading of the script. • Once determined, called cues can be are noted within the margin of the script and point directly to the circled cue line or word. An X can also be used to indicate whether to take the cue after or before a word. The Lighting and Sound Designers will help you identify the exact cue placement and numbering scheme during Paper Tech. • Always write blocking and cues in pencil for easy adjustment. • Once in tech, “the book” should be left in the booth nightly (in case you are hit by a bus)! • For assistance in creating the script and Backing Page, see the Production Manager.
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LINE NOTES This form is distributed as a paper copy to each Actor once the Actors are “off book”. During this his process, ASM will remain “on book” in case the Actors “call for line” and then record the line that was not said on the Line Note Form. See addendum #9. • Calling for a line can be a frustrating moment for an Actor so Stage Management can be helpful by being at the ready to loudly and clearly speak their line for them. • Don’t color the line in any way ether thru inflection or tone as you recite it. • If the Actor cuts you off halfway thru your recitation, know that you can cease and they will continue from there. • When the Line Notes form is utilized, it is pertinent to notify the Actors of every line that is not being said exactly as it is written. • Don’t note incorrect text that was spoken, only quote the correct text to reinforce it. • Form should include a key as to why a line was missed. Including: A = Added line/words, B = Blocking, C = Called for line, D = Dropped line/words, J = Jumped line/words, Q = Cue missed, P = Paraphrased, Pr = Pronunciation and T = Transposed words
REHEARSAL / PERFORMANCE REPORT & PRODUCTION MEETING MINUTES These are your primary communication tools with rest of the Production Team and must be emailed after every Rehearsal, Performance and Production Meeting. See addendum #X. • Minutes are titled properly with show title and the date and time of the meeting and are divided by departments (Director, Scenic/TD, Lights, Costumes, Sound, Misc., SM, Choreography, etc.). If a particular person is unnecessary for that production (i.e.: Choreographer), you can omit. • The Rehearsal/Performance Report contains relevant details from the Rehearsal/Performance, that day’s Call (incl. start/end times and breaks), the next Call, absences or latecomers (how long late and why), visitors, questions, discoveries, accidents and any issues for the Production Team (i.e. alternations needed, set fixes etc.). • The Production Meeting Minutes include a brief summary of what was discussed including all questions, requests, issues and resolutions that were addressed, Always mention the “who,” “what,” “when,” “where,” and “why”: don’t just write bullet points about discussion topics; detail due dates and what was decided, who’s committed to doing it and what still needs addressed and by whom. Be sure to list the present/absent production team members as well as the date and time of the next production meeting. • The reports/minutes are a summary not a novel; keep them specific but succinct. • Tact is important; be cognizant of your tone. It’s preferred that you ask questions rather than make demands (i.e.: “Could we get rehearsal kneepads for Actor X on page X by X date?”) Remember: be tactful, timely and specific! • If nothing arises in a particular area, notate with “none”. • Crossover items should be referenced in multiple areas (i.e.: mentioning purses or wallets in both props and costume areas.) • Whenever possible write Rehearsal Reports and Meeting Minutes in “real-time” as events unfold so that you do not have to remember things later. Obviously, the
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Performance Report must be written later but keep a notepad available at all times to notate. • The Reports/Minutes should be emailed to the Production Team including Producer, Director(s), Music Director, Choreographer, Fight Director, Stage Management, Designers and Assistants, Production Manager, TD, Shop Supervisors, and Faculty Mentors so that everyone is aware of all issues or requests and discussion can follow. Do NOT post on the call board as some of the information may be confidential. • Cast should never be sent these Reports/Minutes; communicate with them separately. When emailing individual Actors or Crew, provided the information isn’t confidential, it’s preferred that you cc: the pertinent Production Team members to keep them in the loop. When emailing the entire Cast, it’s preferred to cc: the entire Production Team to keep them in the loop. • For planning purposes, email the Rehearsal/Performance Report immediately following or by 9am the following day. Meeting Minutes should be sent within 48 hours, or less. • When emailing Send each Report/Minutes in a separate email and not as a forward of previous emails so to keep them separate and searchable. The subject line should include the production name and date of the Rehearsal, Performance or Meeting (not the day it is being sent) to ensure accurate follow-up (i.e.: “Blithe Spirit Rehearsal Report 10.19.16”) All follow-up email should reference the original Report/Minutes. • During Tech Week only, if everyone on the Production Team was present for notes afterwards, it can be assumed they were taking their notes and you do not need to send a Rehearsal Report. However if anything was missed, discovered later, warrants a reminder, or if a department wasn’t present, be sure to include and send to the Production Team.
OUTSIDE PAPERWORK Stage Management is also responsible for distributing and collecting additional forms and schedules that other departments use to manage the production. Please ensure that this is done in a timely manner so to not slow another department’s process. COSTUME FITTING REQUEST • You will schedule Fittings with the Actors based on the available times as presented by the Costume Shop Supervisor. You must follow up and schedule a time with the Actor at that evening’s rehearsal (or, if they are not called let the Shop Supervisor know when they will be.) Once you have Fittings scheduled communicate this via the Rehearsal Report and submit the hard copy of the Fitting Request to the Costume Shop Supervisor. • Remind Actors to call the Costume Shop Supervisor directly 260-481-6557 if they are running late or need to reschedule an appointment; they should not send emails, texts or social media messages.
PROGRAM BIO INFORMATION The Department’s Program Book Coordinator is responsible for compiling the program, however, they will need your assistance in collecting some information.
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• The SM should inform the following people to submit a Bio to the Program Book Coordinator using the online submission form by the end of the first week of rehearsals: All Cast, student Designers (incl. Associate Designers but not Asst. Designers,) and some student personnel (incl. Choreographer Dramaturg, and Stage Manager but not ASM, ME, Prop Master, Board Ops, Dance Captain, Fight Captain, Dressers, Backstage Crew or Ushers.) The Director/Faculty will determine if additional personnel should submit. • Faculty/Staff and Contracted Designer submissions will be handled by the VPA Marketing Specialist. • If asked by the Program Book Coordinator, the SM should follow up with Actors who have not submitted by the deadline. • Submit at: https://www.pfw.edu/departments/cvpa/depts/theatre/student-resources/.
CALL BOARD (outside WT 113) The Call Board is a series of bulletin boards used as a primary means to disseminate Department news, policies and official production information (i.e.: Audition Notice, Rehearsal Calendar, Weekly/Daily Call, Sign-in Sheet, news, etc.). It is expected that every theatre major check these boards daily for updates. Only authorized Faculty, Staff, and Stage Management may post, alter or remove items on the Call Board. • If you post on the call board, email it to the entire Cast, Crew and Production Team as well. • Remember that private or confidential details should not be shared with the Cast, Crew or Production Team via the Call Board.
COMMUNICATION In addition to the Call Board, email, text and phone can also be acceptable (depending on the information and situation) to disseminate official production communication. Determining which method of communication is appropriate usually depends on the urgency or confidentiality the information. • The Call Board is a primary means to disseminate non-confidential information and should be used regularly and consistently. • Email is the other primary method of dissemination as it is best for detailing a lot of information and including attachments. At PFW, the official pfw.edu email is the only appropriate address to use. • Provided the information isn’t confidential, keep everyone in the loop by cc: the Production Team. • Phone is best for urgent communication where you require immediate action or an answer to a question. • Texting is only appropriate for short notifications or non-urgent questions; it is suggested you request a reply to ensure acknowledgement of a notification. • Although social media is everywhere, not everyone uses it or even if they do, it’s not at all confidential and many times it requires people to opt-in (friend, like, follow etc.) to receive the information. The last thing you want if for some of the Cast, Crew or Production Team to receive important information. This makes it a poor choice for communicating with everyone; however, social media could be used for non-official business and information such as parties etc.
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• Some information can and should be send via multiple methods. Keep in mind, however, that you must be consistent so that people don’t have to hunt to find the most current information. • Remember that private or confidential details should not be shared with the Cast, Crew or Production Team via electronic communication or social media. DAILY CHECK-IN As a liaison between all departments, the SM should visit each department daily to follow up on information in the Rehearsal Report, receive any important information from the department heads or to share concerns. An effective Stage Manager doesn’t have to be sought out; touching base daily conveys a sense of responsibility. Your proactive presence will aid you greatly in managing the production and mitigating concerns.
PRODUCTION MEETINGS Theatre is a collaborative art and production meetings are an essential part of a show’s success. Meetings are called to discuss all relevant issues regarding the production and should be attended by the Production Team including: Director(s), Music Director, Choreographer, Fight Director, Stage Management, Designers and Assistants, Production Manager, TD, Shop Supervisors and Faculty Mentors. • Weekly Production Meetings are called and scheduled by the SM in conjunction with the Director and Production Manager. Meetings are subject to the Production Team’s availability. • Production Meetings typically occur weekly beginning the first week of rehearsal. The final Meeting is usually the week before Tech. • Design Meetings with just the Design Team or one-on-one with the Director occur as needed; typically beginning 3-4 mo. prior to opening. • The SM should prepare for the meeting by reading through the previous weeks’ Rehearsal Reports and previous Production Meeting Minutes. Then the Stage Manager can create an agenda that provides a checklist for outstanding issues or group topics. The agenda merely gives you a starting point for the meeting and does not have to be sent out in advance. • The SM should lead the meeting, facilitating an organized, productive and concise discussion The amount of material each department needs to cover will vary; however, there should be a concerted effort by all parties to be succinct. Remember: an effective Stage Manager merely presents the problem rather than offer the solution and allows the correct area to work it. Remember: be tactful, timely and specific! • The Director should be given the floor first, then the SM can address any outstanding issues or group topics. Following that is usually a round-robin approach giving each department the floor i.e.: Scenic, Lighting, Costumes, Props then Sound etc. The order of the round-robin can vary depending on deadlines, participant schedules (or frankly, a need to manage long- winded members of the Production Team.) • Sometimes a separate conversation outside of the Production Meeting may be warranted due to time constraints and should be encouraged if the topic truly doesn’t involve the entire Production Team; however, any decisions made during that discussion should be shared with the entire Production Team via the Minutes.
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• During Tech Week, there should be a short Production Meeting with the entire Production Team (likely incl. Board Op’s and ASM’s) after each rehearsal (Dressers and Crew need not attend; instead they should perform Post-show duties). • Meeting Minutes should be emailed to the Production Team within 48 hours or less. • Meetings are typically held in the Department Conference Room WT128b or the Dean’s Conference Room VA102; be sure to reserve the room with the Department Secretary.
SM KIT The SM kit is small stock of supplies that may be needed during the process. Please let the Production Manager know if supplies need restocking. (For major repairs to scenery, props or costumes, report it in the Rehearsal Report and let those departments address it.) SM Kit items may include but are not limited to: pencils post-it notes or tabs spike tape pen scotch tape flashlight erasers masking tape scale ruler hole punch scissors antibacterial cleanser highlighters stapler small screwdriver sharpie markers staples sewing needle & thread white out band aids tape measure paper clips tweezers binder clips safety pins
Note: University policy dictates that we do not retain or distribute any medicine or first aid supplies (other than band aids for a minor cut or tweezers for a splinter). First aid, diagnoses or the distribution of ointments or medicines should only be administered by trained professionals. Call 911 if there is an injury or severe illness.
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LIFE OF A STAGE MANAGER…at PFW AUDITIONS
Stage Management is on hand to facilitate and support the audition process. The specific duties will depend on the Director. You are also a source of information about the production as a whole and it is important that all auditioners feel positively about the audition environment and that the production is accessible to them. Remember that everything you are privy to is confidential and the audition environment is a safe space.
PRIOR TO AUDITIONS • The Director has likely already set the audition date and reserved the space(s); however, if that has not occurred confer with the Director and reserve the space(s) with the Department Secretary. An audition notice may need to be created and distributed. • Check out a set of keys from the TD. • Meet with the Director to ascertain their unique process for auditions and to discuss your exact role for the day of. • Ask the Director about their casting process i.e. who will contact Actors for Callbacks (if any), when a casting decision be made, and who will develop/post Cast List (it may be you). • Make paperwork or copies necessary for the audition i.e. Audition Form, sides etc. and obtain pens, pencils and stapler etc. from the Department Secretary. • Inform Production Manager of any special needs in the audition locations incl. tables and chairs etc. You may be tasked with assisting in procuring these items. • Develop a tentative Rehearsal Calendar and in conjunction with the Director, Choreographer, Music Director with input from the Production Team and Shop Supervisors.
AUDITIONS • Arrive approximately one hour prior to the beginning of auditions. • Ensure the audition room(s) are unlocked and are set-up to the configuration necessary for the audition process incl. tables and chairs, sweep/mop etc. • Have a sign-in sheet for everyone auditioning upon arrival. • Make announcements to those auditioning about the day’s process incl. potential for Callbacks and when a casting decision will be made. • Check to make sure all required forms are completed by the Actors. Audition Forms, casting-opt out request form and headshots/resumes should go to the Director for casting. • You may be asked to make copies; your key set will not include this key. Borrow the Department office key from the Director. • Check with the Director, Music Director, and/or Choreographer to see when they are ready for you to send people to the audition room(s). • Manage the logistics of Actors coming and going from audition room(s).
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AFTER AUDITIONS • Put away any tables and chairs etc. used for auditions. • Collect all unused forms and other materials and return them to the Director. • Return any keys to the TD. • Return any borrowed items to Department Secretary or Production Manager. • Ask the Director if there are any changes about the previously discussed Callbacks (if any), when a casting decision be made, and who will develop/post Cast List (it may be you) etc. • If you are required to create a Callback List, list the Actors called for each role alphabetically so to not falsely indicate a perceived ranking. This list should be posted on the Call Board; there is no need to email it. (As a courtesy, if Actor on the list is not part of the University community, then you can phone them.) • If you are required to create a Cast List, you can list the characters in alphabetical order, as they are listed in the script or in the order of appearance. This list can be then used for the Contact Sheet, Sign-in Sheet and/or the Character/Scene Breakdown. Be sure to include your contact information, information of the First Rehearsal date and time (if known), when scripts will be available (if known), remind Actors not change their appearance and post the general Rehearsal Calendar.
REHEARSALS The rehearsal process is managed by the Stage Manager. Stage Management serves as scheduler, timekeeper, wrangler, note taker, communicator and crew person throughout the rehearsal process. It is important that the process is efficient and productive. Remember that everything you are privy to is confidential and the rehearsal environment is a safe space. • Departmental productions typically rehearse in the evenings, five days a week, three hours per day, (i.e. 7:00p - 10:00p). Some productions/Directors require additional rehearsals or a different schedule. Department productions typically rehearse for 5-6 weeks prior to Tech. • Rehearsals should end prior to 10:30p; Tech/Dress should end no later than 11:30p. • If the Director, Music Director or Choreographer deems it necessary, students may be asked to stay later or arrive early for additional rehearsal time. While attempts will be made to avoid it, everyone’s focus and patience is appreciated.
PRIOR TO REHEARSALS • The Director has likely already reserved the rehearsal space(s); however; if that has not occurred, confer with the Director and reserve space(s) with the Department Secretary. • Pick up a copy of the script from the Department Secretary, create Prompt Book and complete all necessary paperwork • Check out a set of Stage Manager keys from the TD if not yet done. • Contact all Cast introduce yourself and remind them when/where First Rehearsal is, when/where scripts are available, remind them to submit online Bio Form, remind them not to change their appearance without contacting the Director and Costume Designer and provide your contact information. Get their contact information and create a contact list and email final version out to the Cast and the Production Team. Disseminate the Weekly/Daily Call via email and post on the Call Board.
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• Contact ASM’s and let them know when they will be utilized, let them know when/where scripts are available and provide your contact information and obtain theirs. Communicate their specific duties during Rehearsal. Typically, SM handles blocking and creating Backstage Run Sheet. ASM’s handle Line Notes and prop tracking. Everyone may assist with scene shifts. These may vary or change per production. • Discuss with Production Team about any designer presentations during the First Rehearsal and plan accordingly. • Discuss with Director, Music Director and Choreographer how rehearsal should flow. Discuss if there are any special needs or instructions for Rehearsal. • Discuss how the Director, Music Director and Choreographer how they would generally like to handle breaks: breaks should be taken for 5 min after each 55 min of rehearsal or 10min after every 80 min of rehearsal. • Revise, if needed, the Rehearsal Calendar and develop the Weekly/Daily Call with the Director, Music Director and Choreographer with input from the Production Team and Shop Supervisors. • Discuss with Scenic Designer, Production Manager and TD about when the ground plan will be available for tape out of the rehearsal space and who will do it (it may be you.) • Discuss with the Director as to when rehearsal props, furniture/set pieces or costumes should enter into the rehearsal process and discuss with to the appropriate department about how and when they will be provided to you or if you should obtain them. Daily storage of these items should also be discussed.
FIRST REHEARSAL (Sometimes called the MEET AND GREET) • Remind all Actors to fill out online Bio Form. • Remind all Actors that you will be sending Daily Calls so they should check their email daily. Remind them that your emails supersede all prior information. • Have everyone put your contact info in their cell phone. Remind them that the only person they should contact regarding lateness or absences should be you. It is inappropriate to have someone else relay a message. • Discuss rehearsal policies with the Cast, especially cell phone, food and drink, picture/video policy etc. • Designers may present their designs to the Cast.
NIGHTLY REHEARSALS • Arrive 15-30 minutes prior to Rehearsal to be prepare. • Unlock all needed doors and set-up to the configuration necessary for Rehearsals. • At call time, take attendance and make any announcements (i.e. Costume Fittings etc.) • Track rehearsal time and call breaks. When it’s time for a break, notify the Director(s) then call “Ladies and Gentlemen, please take X minutes.” It may be helpful to give a 2 minute warning “Ladies and Gentlemen, 2 minutes.” before the end of break. After breaks, establish order and call “Ladies and gentlemen, we are back. Let’s continue at…” Train the Cast and Crew to respond to your calls with “Thank You 10” etc. • Whenever possible write Rehearsal Reports in “real-time” as events unfold so that you do not have to remember things later. • Track blocking in Prompt Book.
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• Remain “on book”. Give lines when called for. Update and hand out a Line Notes for each Actor. • As soon as possible, the SM/ASM’s should include props, furniture/set pieces and costumes items in the daily set-up of the rehearsal hall and track props/furniture in real time from the appropriate entrances/exits. Always keep the Prop Tracking Plot, Backstage Run Sheet and Shift Plot updated. This will help identify potential logistics issues early. Be prepared to assign much of what the SM/ASM’s did during the rehearsal process to the Crew when they are brought into the process (typically not until Tech).
AFTER NIGHTLY REHEARSALS • Return the rehearsal hall(s) to the predetermined neutral state. Put tables, chairs, rehearsal furniture and rehearsal props/costumes away. • Ask Director, Music Director, and Choreographer if they have any needs/changes for the next Rehearsal. Include these changes in the Weekly/Daily Call and be sure to post/email by 9am the following day. • After the last person has left, turn out all lights and close and lock all doors to rooms that were accessed. Be diligent about making sure no doors are propped open or unlocked. • The Rehearsal Report with the updated next day’s call should be emailed to the Production Team by 9am the following day.
CREW-VIEW OR DESIGNER RUN • When the show is run in it’s entirely (or just an act) for the Production Team and Crews. A Designer Run of a whole or partial show can happen at any time during Rehearsal. A Crew View is typically held during the final week of Rehearsal and consisting of one or two rehearsals late in the week. • Well in advance, remind the Production Team when Crew View(s) and Designer Run(s) are scheduled and ensure that everyone necessary will attend. All Crew (incl. Backstage Crew, Props, Flies, Dressers, and Spot/Board Op’s) are expected to attend a Crew View to understand the production prior to Tech. • Contact all Crew and introduce yourself and let them know when first call is (Crew View), that the schedule is posted and provide your contact information. Get their contact information and update the contact list. Communicate their general duties for Tech/Dress and Performances and ask if there are any questions. You can cover specifics in detail during Dry Tech.
PUBLICITY PHOTOS • Typically precedes a Wednesday or Thursday rehearsal, the week prior to Tech. • Scheduled by the VPA Marketing Specialist and communicated by the SM. • Be sure to include in the Weekly/Daily Call and Rehearsal Calendar. • The Director and VPA Marketing Specialist will lead the photo shoot but will require your assistance to ensure that the required Actors are called, present and in costume, and that the set is dressed and lit according to the Set and Lighting Designers.
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TECH “WEEK” When the Cast and technical elements/costumes converge and the show is polished and set. • Tech typically begins the Sunday prior to opening. • Tech Week is a long but manageable process. Your patience, positive attitude and ability to multi-task greatly affects the process; good communication and being efficient is crucial. The SM helps alleviate stress by: listening carefully to the Director’s needs, the Designers’ wishes and acknowledging Cast/Crew concerns. • It is important to keep everyone on task and keep the process moving; however, give yourself, the Director and Designers time to assess whether all technical elements are satisfactory and people are in place before moving forward.
AT THE PENULTIMATE PRODUCTION MEETING: • Discuss and schedule Paper Tech if not yet done. • Discuss the Director’s desire to incorporate a run into Tech Sunday after cue-to-cue. • Discuss the amount of time Cast will need for dressing, hair or makeup in order to set calls accordingly. • Discuss whether the need for, procedures for and time required for Dimmer Check, Fight Call, Dance Call, Warm-ups, Pre-show Meeting, etc during Tech and/or Performances. • Discuss the Tech Week schedules and set all call/go times. Cast and Crew call for a Tech/Dress and Performance is typically 1 ½” hours prior to curtain. Often, a 1.5hr dinner break is given between Cue-to Cue and a Full Run. • Discuss when and who will install tech table (typically Lights), clear-com (typically TD), handheld “god” mic (typically Sound), dressing room/backstage monitors (typically Sound), and backstage blue lights (typically Lights). • Discuss when Orchestra will need to begin to load-in prior to Sitzprobe and how much time is needed for mic’ing and Sound Check. • Discuss when the SM, clear-com, handheld “god” mic and tech table will move out of the audience (typically two days prior to opening). • Discuss whether there will be an invited audience for the Final Dress and whether there will be a talk back afterwards.
PRIOR TO TECH • Finalize the Tech schedule. Be sure to include in the Weekly/Daily Call and post on the Call Board; email the Cast, Crew and Production Team. • Review emergency procedures with the Production Manager. • Obtain and distribute additional scripts for Crew as necessary. • Prepare Sign-in Sheet, complete Prop Preset Checklist, Backstage Run Sheet and Shift Plot. • Ensure that Prop Master and Prop Crew are ready for Tech and have set up/labeled prop tables (Prop Crew will need painters tape and markers).
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PAPER TECH When the SM records the exact cue placement in the Prompt Book per Designer’s wishes. • Typically held Thursday or Friday before Tech. • Scheduled by the SM, subject to the availability of the Director, SM (ASM’s not needed), Production Manager, Light Designer, Sound Designer, TD/Scenic Designer (if set, flies, or curtains move) and Projection/SFX Designers. • Meeting day and time should be set by the final Production Meeting. • Meetings are typically held in the Department Conference Room WT128b; sure to reserve the room with the Department Secretary. • After Paper Tech, the SM should insert warnings and standbys into the Prompt Book. • Warnings should be incorporated to alert the operator of an upcoming cue no more than 1 page prior to a cue. Can be omitted until after a long stretch between cues. • Standbys should be incorporated to alert the operator of an upcoming cue no more than 1/2 page prior to a cue.
SITZPROBE (musicals only) When the Cast and Orchestra hear each other for the first time and the Cast sings thru the show. • Depending on the needs of the Director and Music Director and the Orchestra’s on availability, the Sitzprobe is held on a Saturday or Sunday before Tech. • No blocking or props are needed. The Cast typically sits in chairs. • Orchestra should be loaded into their “pit.” • Call should include Sound Designer/Technician, and allow time for loading-in and mic’ing Orchestra, mic’ing Actors and performing Sound Check. • Sound Designer should address microphone use, check out/in policies and Sound Check expectations. • Actors and Orchestra should be mic’d exactly as they will be during the Run.
“DRY” TECH When the stage and flies are prepped, Crew is trained, spike/glow tape applied, SFX or complex technical elements tested, scene shifts rehearsed without Cast. This designated time is sometimes eliminated but the tasks still need to be done prior to Tech. • Traditionally held the Saturday or Sunday prior to opening. • The SM leads this day(s) and needs to be prepared to “drive the bus.” • TD should give a walk-through of the set and backstage areas with SM/ASM and all Crew. • Review building/safety policies and clear-com operations. • Spike all scenic pieces and fly trim heights as well as use glow tape and eliminate all safety concerns. • Assign and train Crew on their specific operational duties and test run all backstage moments. Update Backstage Run Sheet and Shift Plot afterwards as needed • Utilizing the Prop Preset Checklist, the Prop Crew can set up, tape and label the prop tables.
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TECH When the show is run, setting all light, sound, set, fly or SFX cues with Cast. Usually, the show is run Cue-to-Cue; after, if time permits, the show can be run in its entirety. • Traditionally held Sunday before opening (aka Tech Sunday) and does not incorporate the Orchestra or costumes. • The SM leads this day(s) and needs to be prepared to “drive the bus.”
PRIOR TO TECH: • If Dry Tech was eliminated, complete all Dry Tech procedures.
AT THE BEGINNING OF TECH REHEARSAL: • SM should lead introductions of Cast and Crew followed by a summary of the day’s schedule and rules/procedures. The Director may wish to say a few words. • SM should ensure Cast and Crew are aware of the Call Board Sign-in Sheet. • If needed the TD should lead and give a walk-through of the set and backstage areas. • If not yet done, Sound Designer should address microphone use, check out/in policies and Sound Check expectations. • Sound Designer should conduct Sound Check.
TECH REHEARSAL • The handheld “god” mic is used throughout to communicate with everyone loudly and clearly. You should be able to easily and efficiently communicate with the Director, Designers, Cast and Crew throughout the process. Ensure the dressing room/backstage monitors are working so people can hear what’s occurring on stage. • Remember to remain calm and be polite and use “please” and “thank you.” • When asked to “hold”, Cast should quietly remain in-place until needed. ASM’s should be at the ready with spike tape, glow tape, paper and pen. Valuable time can be lost trying to locate these items. • For safety, SM should always announce “going to black” before a blackout. • Breaks (10 min) should be incorporated every 80 min. Additional breaks can be given while discussion amongst the Production Team occurs or while cues are written. • Remind all on headset that you will call warnings and standbys and that cues should be anticipated but the action should never occur until the SM says “GO.” • When going off headset, check in to notify others first; notify upon return also. • Preferably, one ASM should always be on headset backstage. • Remind everyone on headset not carry on irrelevant conversation on headset. Don’t chew gum. Never say/do anything inappropriate (you never know who’s listening). • Beginning with Tech, there should be a short Production Meeting with the entire present Production Team (likely incl. board op’s and ASM’s) after each rehearsal (Dressers and Crew need not attend; instead they should perform Post-show duties). It is preferred that the meeting occur while the Cast is getting out of mics and costumes. At that meeting, set the next night’s Call/schedule, especially the “go” time. • Following that Production Meeting, the Director, SM and Cast will participate in a notes session (preferably in the rehearsal hall to free up the stage.) ASM’s and Crew can continue to perform Post-show duties then be released.
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• During Tech Week only, if everyone on the Production Team was present for notes afterwards, it can be assumed they were taking their notes and you do not need to send a Rehearsal Report. However if anything was missed, discovered later, warrants a reminder, or if a department wasn’t present, be sure to include and send to the Production Team. • Afterwards, send the Daily Call by 9am the following day.
CUE-TO-CUE: Tech will jump from one cue to the next, omitting non-cue-line dialog in between. • After “hold” has been called and a cue written, the SM should tell the Actors where they can “pick up from ‘line’” and when they can begin “Go ahead please.” • Once the cue has been staged the SM should call “hold” and then discuss with Director and Designers whether to “restore and run it again” or move to the next pick up line. • Continue until all cues are set to your satisfaction as well as the Director and Designers. • Props should not be incorporated unless crucial to timing of cues.
FULL RUN: Tech is run without eliminating dialog. • Props should be incorporated as they affect pace.
DRESS REHEARSALS When the show is run with all cues with Cast, costumes, props and Orchestra. • Traditionally begins Monday before opening. • Begin using all show calls to Cast and Crew to establish consistency and keep on schedule. The goal is that everyone knows how much time they have, counting down the number of minutes until “places” (i.e. “15 minutes to places please”). Typical calls prior to the show are: “1hr.”, “Sound Check/Prop Check”, “30min.”, “15min.”, “10min.”, “5min.” and “places” (which is 2min prior to GO!). Typical Intermission calls are: “10min.”, “5min.” and “places”. • Discuss with ASM which calls/if any are to be given by them and have them make those calls every night. It may be necessary to adjust which calls will be given on any given day. • The Backstage Run Sheets should be updated daily and utilized diligently to ensure everything is being done during Pre-show, during the Run, Intermission and Post-show. • Be sure confer with ASMs, Backstage/Prop Crew, Dressers, Board Op’s; Dance/Fight Captain and ME to ensure that enough time is being given for all calls, presets/checks to occur before the House is open. Assist in keeping things moving and as a last result, adjust call times if needed. • Stage Management should conduct these rehearsals like performances. However, be prepared to “hold” for issues, adjustments and questions; these moments will become less frequent as the week progresses. • If it is decided not to stop the Run to work moments, keep a running list of all moments (technical or otherwise) that require work and find time to work them. • Afterwards, send the Daily Call by 9am the following day.
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FIGHT CALL Fight calls are a time prior to House Opening when all fights are run with all Actors involved in each fights (incl. bystanders near the action). Fights should be run in real-time and in show conditions (with lights, haze/fog and sound) with Actors in costume. Be sure to designate enough time for this before every Dress & Performance. No distractions or other activities should occur on stage at this time.
FINAL DRESS (INVITED DRESS / ARCHIVAL PHOTOS) Final Run of the show the day before opening. • Final Dress may be an invited dress. An invited dress is typically used as a recruitment tool for local high school students to experience a show on campus. Possibility of an invited dress occurs at the discretion of the Director and all requests for attendance must be referred to the Director. • Final Dress should have “show conditions” where all procedures and calls are carried out exactly as they would be during Performances. • Ideally, Final Dress occurs without stopping however, before the Run discuss with the Director when a “hold” might be appropriate. • Archival photos and/or video are typically taken during Final Dress as arranged by the VPA Marketing Specialist. The camera person will be slightly intrusive, wandering throughout the House, so remind the Cast to ignore them. • Stage Manager and Light Board Op should be in booth and not at tech table. • Beginning with Final Dress, the Stage Manager should check in with the House Manager at “places” Pre-show and when at the end of Intermission to ensure there are no delays at the box office or restrooms. If you decide to hold for the House, inform your ASM’s (they should inform Cast) and Board Op’s but “hold in places” so that Cast/Crew don’t wander away. When this situation is resolved you can “GO.” • It’s possible that there will be a Talk Back Post-show where the Designers, Cast or Crew are invited to speak about the production or answer questions. Your handheld “god” mic may be required.
PERFORMANCES AND AFTER PERFORMANCES At this point, the show is “set” and changes should not occur in blocking, cues, direction, dialogue, design or run time. It is stage managements duty to maintain the artistic integrity of the production and ensure that if changes begin to creep into the show, it is corrected immediately. Unforeseen circumstances could warrant a minor adjustment (for safety etc.) but only after sufficient discussion with the Production Team, Cast and Crew. • Everything about the performance and the processes to implement the show (i.e. Pre- show, Warm-Ups, Fight Call, Intermission etc.) should be executed in-exactly the same manner for every Performance. • Once the Performance concludes, send out a Performance Report to the Production Team. Be sure to follow up on any pressing issues before the next show (a phone call may be warranted during a weekend.) • Cast should be reminded that following the Performance they should remove their mics and return them to Sound, put props away, neatly hang up all costuming and exit the
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dressing room with their possessions in a timely manner before visiting with audience members. • Afterwards, send the Daily Call by 9am the following day.
BRUSH UP REHEARSAL Some Directors may choose to call an Cast-only Brush-up Rehearsal the week after the show opens; usually the day prior to the next Performance. • The intention is to fix line or blocking issues that have arisen since Final Dress. • The show may be run on stage in its entirety without tech or just a quick line recitation. • The Director may not be present so it’s your job to keep the Cast on-point and make the rehearsal productive. It is a huge waste of everyone’s time if the rehearsal is not taken seriously and people are permitted to be unfocused.
CLOSING • Cast and Crew should remove all personal belongings from backstage and the dressing rooms following the Final Performance. • Borrowed scripts, scores or librettos should be erased of all markings/notations, collected by the SM and be returned to the Department Secretary in a timely manner. • Return any keys to the TD. • Stage Management should clean up booth and remove personal belongings.
STRIKE The tearing down of the set, lights and costumes, known as Strike, typically occurs on a Sunday afternoon following the last show of a production. The exact date will be determined prior to auditions; the exact time will be determined about a week prior. • Any student in the Cast, Crew or on a Design Team of a show are required to participate in Strike. Some classes may also require attendance. (Students in their final semester before graduation are exempt from attending Strike, unless required to be in attendance for a class.) • About a week prior, the TD, in conjunction with the Light Faculty and Costumes Shop Supervisor, will assign the Cast and Crew to different teams. (Some students may be utilized in multiple areas.) The TD will then communicate call times to the SM for distribution via email and posting on the Call Board. • All participants will gather in the auditorium for their call. • The TD will take attendance at the beginning and end of Strike. Arriving late, inactivity or leaving early will subject the student to possible disciplinary action, including exclusion from future Department of Theatre productions. • Closed-toe, hard-soled, non-slip shoes are the minimum requirement for everyone at Strike.
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DEPARTMENT POLICIES For information regarding Departmental policies, consult the Department of Theatre Student Handbook: https://www.pfw.edu/departments/cvpa/depts/theatre/student-resources/
ELECTRONIC DEVICES The use by Cast or Crew of electronic devices (including phones, tablets and computers) during Rehearsal or Performances, in the rehearsal hall or backstage spaces is prohibited unless it is pertinent to the job or has been cleared ahead of time by the Director. Focus should remain on the production at all times. Devices should be put on silent and stored away.
FOOD AND BEVERAGE With the exception of water in closed containers, food and beverage: • Is not permitted on stage or in backstage spaces during Rehearsal or Performances. • Should be stored and consumed in the green room and not in dressing rooms. • Should not be consumed while in costume. Under special circumstances, food may be permitted pot-luck style in WT113 provided it is cleaned up afterwards and removed from the premises; trash should be discarded in outside dumpsters. Additional tables are available; schedule use with the TD.
KEYS Stage Managers will be issued keys for each production by the TD. • Keys are to remain in your possession at all times and not given to any others for use. • Keys are for the key holder use during SCHEDULED rehearsal/performance hours for the purposes as discussed. No unscheduled or unauthorized entrance permitted to the space(s) or any other space(s) on campus. • Key holder must remain present and on-site during all times in which access to the space(s) is provided via the key holder keys. All doors into the space(s) must be locked and not propped open when not in use or privileges may be revoked. • Keys cannot be duplicated under any circumstances. • If the keys should be lost or stolen, you are to contact the University Police immediately at 260-481-6827 and also report this to the Department Secretary and TD • If any keys are lost or stolen, you will be responsible for paying up to $30.00 per key. • Keys must be returned upon request, upon termination of contract, or immediately post event to the TD.
PHOTOGRAPHY / VIDEO Although we live in a digital age, not everyone appreciates their every move documented for all the world to see. As such, taking photographs or video in the rehearsal hall, backstage spaces and dressing rooms for personal use or posting on social media is prohibited*. • The rehearsal process needs to occur in a safe space where vulnerabilities can occur without the threat of exposure. • The unfinished, in-progress or finished work of the Designers is their intellectual property and permission must be granted to take photos or video of it.
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• Videotaping may occur by the Department for archival purposes or by the Director for staging purposes. Permission may also be granted to the Stage Manager or Choreographer/Dance Captain for documenting choreography; such videos should not be shared publicly on social media. • The Department Chair, in consultation with the Faculty will coordinate all authorized production photo/video opportunities for use on social media and will provide authorized publicity production photos and archival production photos for personal use or posting on social media. *With advance notice and permissions, the Department Chair, in consultation with Department Faculty may set aside a time for the students to take photos/video for social media; students not wishing to be photographed can opt out. • Certainly, Cast and Crew will want to commemorate their experiences of being in the production and they are welcome to… outside of rehearsals and in public spaces only; not on set, in costume, in rehearsal rooms or dressing rooms. • Designers are permitted to photograph their finished work for portfolio purposes only.
VISITORS During Rehearsal, the stage and rehearsal hall(s) are closed to outside observers who are not members of the Production Team, Cast or Crew. During the Tech/Dress and Performances, this includes the stage, rehearsal hall, dressing rooms, green room and all backstage spaces. Remember that everything that happens in Rehearsal or Performance is confidential and the environments are a safe space. Special access may be granted by the Director or TD.
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DEPARTMENT PROCEDURES TECHNICAL ISSUES Even a thorough pre-show check of all the elements cannot ensure that nothing will go wrong during Performances. Technical issues happen, the key is to remain calm and keep the play moving forward. • Stage Management should try to understand the problem and if needed, remedy it using the appropriate and available Crew (during Tech/Dress and Performances, the TD will always be present for assistance.) • How severe is issue? Will it adversely affect someone or something else? Is it a safety issue? Not all issues will be noticed by the audience or need to be corrected immediately. Sometimes, a temporary fix or proceeding with missing element is the best decision. Sometimes, it’s best just to wait until Intermission or after the show to remedy the situation. • Sometimes, however, you may need halt the Performance to allow a repair to happen. In that case the audience should be notified of the need to pause the show using the handheld “god” mic. Be sure to keep in communication with the Cast and Crew so they know that the situation is under control and how to proceed. Once the issue is resolved, the audience can be notified and the play can resume.
EMERGENCIES Your judgment often determines whether or not an incident is an emergency. If you consider a situation to be an emergency, then it is and certain procedures should be followed. If in doubt, err on the side of safety. The safety of all is the most important consideration in the event of an emergency. Stage Management must not attempt to do more than protect an injured person, prevent additional injuries and minimize the effect on the show. Even in the best of situations, a Stage Manager will be challenged to remain calm; during an emergency it’s crucial for you and your Crew. • University policy dictates that the shop does not retain or distribute any medicine or first aid supplies (other than band aids for a minor cut or tweezers for a splinter). First aid, diagnoses or the distribution of ointments or medicines should only be administered by trained professionals. For an emergency: injury, fire or police matter dial 911; trained professionals will assess and address the situation. Do not administer first aid yourself or allow others to do so. • In an emergency, bring stage lights down and house lights up, turn off any sound cues and using the handheld “god” mic read the appropriate announcement for the audience. • For additional information, there is a binder in the booth and backstage SR containing the Purdue Fort Wayne Emergency Procedure Handbook. The document can be found online here: https://www.pfw.edu/offices/police/emergency/handbook.html • If 911 has been called for an injury, someone should stay by the victim and someone should wait at the curb to direct emergency personnel. • During Tech/Dress and Performances, the TD will always be present. Be sure to involve them immediately. • You may be asked to fill out an incident report to document the event. See the TD or Department Secretary for more information.
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SEVERE WEATHER Watch: means that conditions are favorable for severe weather in or near the watch area. Keep yourself informed of weather changes via app, radio or television updates.
Warning: means that severe weather is imminent in the warning area. University Police will monitor all local radio frequencies and should taking shelter be necessary, outdoor weather sirens will be activated and weather announcements will be sent out by text, phone and email using the Campus Emergency Notification System. When taking shelter: • Stay away from windows. • Proceed to the lower level, basement or ground floor and interior area. Williams Theatre: Hallway outside WT113 or down in the lower voms. Kettler Studio: Ground Floor interior hallway. • Position yourself in the safest portion of the shelter area. Be prepared to kneel facing a wall and cover your head. • Stay in the shelter until the all clear signal is be given throughout the campus by the Emergency Notification. • Do not call 911 unless you require emergency assistance immediately.
EMERGENCY ANNOUNCEMENTS: In the event of an emergency, weather event or technical issue, the following announcements can be given (as is or altered) by the SM via the handheld “god” mic or from center stage by ASM or TD. These are also included with the Purdue Fort Wayne Emergency Procedure Handbook in the booth and backstage SR. • Whenever possible, confer with the TD prior to giving the announcement. • Remain calm in your delivery.
SEVERE WEATHER “Ladies and gentlemen, may I have your attention please: We have been alerted to a weather emergency and need seek shelter. Please remain calm and move with the rest of your row to the front of the stage and down into the basement. Thank you.”
FIRE “Ladies and gentlemen, may I have your attention please: We are experiencing technical difficulties. Our safety procedures require that everyone leave the theatre through the nearest exit as quickly as possible. Please remain calm and move with the rest of your row to the lobby and outside. Thank you.”
MEDICAL EMERGENCY “Ladies and gentlemen, may I have your attention please: Due to a medical situation (backstage), we need to pause the performance at this time. If there is a doctor in the audience who is willing to provide assistance, please exit to the lobby and identify yourself to an usher. We ask that everyone else remain in their seats and we will resume the performance as soon as possible. Thank you.”
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POWER OUTAGE / TECHNICAL DIFFICULTIES “Ladies and gentlemen, may I have your attention please: We are currently experiencing a (power outage or technical difficulties) and need to pause the performance at this time. We ask you to please remain in your seats and we will update you with further information as it becomes available Thank you.”
POWER OUTAGE / TECHNICAL DIFFICULTIES UNRESOLVED “Ladies and gentlemen: we are working to resolve the (power outage or technical difficulties.) Please feel free to stand up and stretch your legs. Ushers can help you reach the lobby and restrooms if needed. We will update you as soon as we have more information; we hope to resume the production shortly. Thank you for your patience and understanding.”
POWER OUTAGE / TECHNICAL DIFFICULTIES RESOLVED “Ladies and gentlemen: thank you again for your patience. We have resolved the (power outage or technical difficulties) and are now ready to resume the performance. Thank you for your understanding.”
CANCELLED PERFORMANCE “Ladies and gentlemen: we apologize for the delay. Unfortunately, due to circumstances outside our control, we are not able to resume the performance today. (If during the first act: “Please contact the box office at 260.481.6555 to discuss your options to see another production.” If during the second act: add nothing.) “We apologize for your inconvenience. Thank you.”
CANCELLATIONS / CLOSINGS In case of illness or adverse weather, Rehearsals or Performances may need to be cancelled. The decision to cancel is most definitely above your pay grade. • Rehearsals: If cancellation is imaginable, have a conversation with the Director to determine when he/she will make the decision to cancel. • Performances: If cancellation is imaginable, the severity of the situation means that you need to have a conversation with the Department Chair and Director to determine when they will make the decision to cancel. • Once the decision to cancel is made, the SM should contact everyone involved (The TD/Production Manager may be able to assist in calling the Production Team and Crew). Depending on how much notice you have, sending a text or an email may be sufficient; however, under a time crunch, in addition to the text or email, call everyone as well. When sending text or emails, ask for them to reply to you. Anyone who hasn’t replied in a timely manner should get a follow-up phone call. • In the event of a weather related University closing, notification and updates are available by calling: 260.481.6050 or 260.481.5770. Or at https://www.pfw.edu/offices/police/emergency/ • If the University campus closes, follow the above procedures for an official decision about a cancellation regardless. ADDENDUMS The following addendums 1-16 are provided for your information. Use as examples or contact the TD for original documents that can be altered.
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Department of Theatre Stage Management Manual Addendum 1 – Rehearsal Calendar Rehearsal Calendar
TBD
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Department of Theatre Stage Management Manual Addendum 2 – Weekly/Daily Call
Weekly /Daily Call
TBD
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Department of Theatre Stage Management Manual Addendum 3 – Production Script Analysis Production Script Analysis TBD
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Department of Theatre Stage Management Manual Addendum 4 – Character/Scene Breakdown Character/Scene Breakdown for Blithe Spirit Key: E = Enter, X = Exit, OS = Offstage Voice
Act I, Sc. 1: Night Act I, Sc. 2: Later That Day
Page 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Charles (Brock) E X E X E XE X Ruth (Laura) E x E X Elvira (Brooke) OS E X Mme Arcati (Kate) OS E X E X Edith (Alayna) E X EX EX EX Act I, Sc. 3 Act II, Sc. 1 Act II, Sc. 2 Page 32 33 34 35 36 37 38 39 40 41 42 43 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 Charles (Brock) E X E X E XE X Ruth (Laura) E X E X E X Elvira (Brooke) E X E X E X E X Mme Arcati (Kate) EX EX Edith (Alayna) E X E X E X Mrs. B (Karyn) E X Dr. B (Chance) E X Act. II, Sc. 3 Act. II, Sc. 4 Page 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 Charles (Brock) E XE X E XE X Ruth (Laura) EX E X Elvira (Brooke) E X E X Mme Arcati (Kate) X X Edith (Alayna) E X E x E X Mrs. B (Karyn) Dr. B (Chance) Revised 08/09/19 Page 36 of 56 Department of Theatre Stage Management Manual Addendum 5 – Prop Tracking Plot Prop Tracking Plot for Young Frankenstein Who Where Pg Where A/S/P Qty Prop C Preset Who Exit Notes R Source A Source Enter Enter Exit Exit Shop Shop 1.1.1 1 Hand bell Counter Herald Counter Rings X 1.1.1 1 Censor Priest 1 Priest On chain to swing X Carried by 2 people, ornate X 1.1.1 1 Coffin UC Undertaker Center 2 Undertaker "Dr. Victor von Frankenstein, 1833-1934" carved on side 1.1.1 4 Umbrellas SL Villagers SL Door 2 Villagers SL X Robert X 1.1.2 1 Camera SR Ziggy SR 2 Ziggy X civic X ordered Brain in Lab Lab 1.2.6 1 Frederick display case Counter Counter SL 1.2.7 1 Gong & Mallet SL Frederick Window 7 Frederick SL Wheels in with Mr. Hilltop on 1.2.7 1 Gurney SR Assistants SR 7 Assistants it Table/Cart on for classroom- brain and 1.2.7 1 SL Furniture SL Door 7 Furniture SL wheels clamp on it Given to Frederick, put on 1.2.8 1 Metal clamp SR Assistants SR 8 Assistants Hilltop's neck 1.2.11 1 Apple Y UC Student TBD UC 11 Student TBD Telegraph Telegraph X 1.2.11 1 Telegram SR USR 12 USL text on p. 11 of script Boy Boy 1.2.11 1 Dime Vom Frederick Vom 12 Frederick given to Telegraph boy X Passenger 1.3.13 1 Vom Purser Vom 13 Purser List Shop Shop 1.3.13 1 Gong & Mallet Steward same as school?? Counter Counter SR Frederick & Frederick & 1.3.13 1 Luggage SR 13 SR will be dropped on ground on cart Elizabeth Elizabeth sturdy enough for Elizabeth 1.3.13 1 Luggage Cart SR Purser SR 13 Purser SR to ride in dance Shoe Shine Shoe Shine Shoe Shine 1.4.19 1 Kit UC Man UC 19 Man SR Telegraph Telegraph 1.5.25 1 Telegram* SR SR 24 SR Same as before? Boy Boy Unlit 1.6.31 1 SL Frau Blucher SL 32 Frau Blucher SR Candelabra How many pieces? 1.6.32 10 Luggage UC Inga UC 33 Inga SR Was in the hay wagon? Revised 08/0919 Page 37 of 56 Department of Theatre Stage Management Manual Addendum 6 – Contact List Contact List TBD Revised 08/0919 Page 38 of 56 Department of Theatre Stage Management Manual Addendum 7 – Backstage Run Sheet BACKSTAGE RUN SHEET Time Who What PRESHOW 6:15/12:15 SM/ASM Call time “ SM Unlock all doors “ SM Turn on work lights and dressing room lights 6:30/12:30 Actor/Crew Call time “ ASM Check sign in sheet and call latecomers. “ ASM/Crew Remove Ghost light “ Lights Dimmer Check (be done by 6:58/12:58) “ Crew Sweep and mop (be done by 6:58/12:58) “ SM/ASM/Crew Team Meeting (no longer than 10min) “ Props Preset props (be done by 7:13/1:13) “ Crew Preset stage/preshow shift plot (be done by 7:25/1:25) “ Lights Dimmer Check (be done by 6:58/12:58) 6:58/12:58 SM CALL “60 min to places. Mic Check on stage now please.” 6:58/12:58 Actors/Sound Mic Check (be done by 7:13/1:13) if necessary 7:13/1:13 SM CALL “45 min to places. Check your props now please.” 7:13/1:13 Actors Prop Check (be done by 7:25/1:25) 7:25/1:25 SM Check in with ASM’s, sound, props to see if ready to open house. “ ASM Turn on blue lights, turn off worklights “ SM Call Preshow cues: LQ1 and SQ1 7:28/1:28 SM CALL “30 min to places. House is open.” 7:30/1:30 SM Inform house management to open the house 7:43/1:43 SM CALL “15 min to places. Cast Meeting now in 113 please.” 7:48/1:48 SM CALL “10 min to places” 7:53/1:53 SM CALL “5 min to places” “ SM Return to booth 7:58/1:58 ASM CALL “ Places for the Top of Show” “ SM Check in with Headsets: SR, SL, Light OP, Sound OP & Flies. “ SM Check in with house mgmt. and close house or hold in places. “ ASM Verify top of show actors are present 8:00/2:00 SM GO! INTERMISSION + :00 SM CALL “15 minute intermission, 13 min to places.” “ Props Preset Props (be done by +:13) “ Crew Preset stage/intermission shift plot (be done by +:13) + :03 SM/ASM CALL “ 10 min to places” “ SM Check in with house management for potential issues + :08 SM/ASM CALL “ 5 min to places” “ SM Return to booth + :13 ASM CALL “ Places for the Top of ACT X” “ SM Check in with Headsets: SR, SL, Light OP, Sound OP & Flies. “ SM Check in with house mgmt. and close house or hold in places. “ ASM Verify top of act actors are present + :15 SM GO! POSTSHOW After Last Cue SM Thank everyone on headset and ask for issues. At House Empty All Turn off headsets “ ASM Turn on work lights, turn off blue lights “ SM Check in with ASM, Crew, wardrobe and props for issues. “ SM Check in with House for issues “ Actors/Sound Put mics away “ Props Prop cleaning “ Wardrobe Laundry “ Crew/Props Reset stage and props Revised 08/0919 Page 39 of 56 Department of Theatre Stage Management Manual Addendum 8 – Shift Plot Shift Plot TBD Revised 08/0919 Page 40 of 56 Department of Theatre Stage Management Manual Addendum 9 – Line Notes Line Notes Show: Key Actor: A = Added line/words Q = Cue missed B = Blocking P = Paraphrased Character: C = Called for line Pr = Pronunciation D = Dropped line/words T = Transposed words Date: J = Jumped line/words Pg Key Correct Line Revised 08/0919 Page 41 of 56 Department of Theatre Stage Management Manual Addendum 10 – Rehearsal Report Rehearsal Report Production: Day: Date: Stage Manager: Call Began: Breaks: Ended: Late: Absent: Rehearsal Breakdown Time What Who Next Rehearsal Day Date: Time What Who Scenic / TD Lights Costumes Props Sound Miscellaneous/Other Thank You! Revised 08/09/19 Page 42 of 56 Department of Theatre Stage Management Manual Addendum 11 – Performance Report Performance Report Production: Day: Date: Stage Manager: Call Began: Breaks: Ended: Late: Absent: Breakdown Time Begin Time End Run Time Act 1 Intermission Act 2 Total Run Time Next Performance Date Day Call Time Scenic / TD Lights Costumes Props Sound Miscellaneous Thank You! Revised 08/09/19 Page 43 of 56 Department of Theatre Stage Management Manual Addendum 12 – Production Meeting Minutes Production Meeting Minutes Production: Meeting Date/Time: Stage Manager: Present: Absent: Director: Scenic / TD: Lights: Costumes: Props: Sound: Miscellaneous: The next Production Meeting will be: Thank You! Revised 08/09/19 Page 44 of 56 Department of Theatre Stage Management Manual Addendum 13: Job Description - Stage Manager JOB DESCRIPTION - STAGE MANAGER Stage Management is responsible for two basic production needs: • The safe and efficient execution of Rehearsal/Performance per the Director’s vision. • Facilitating communication between all Cast, Crew and Production Team. RESPONSIBILITIES • Coordinate and liaise between the Director, Cast, Crew, and Production Team during Pre- production, Rehearsal, Performances and Post-production. • Coordinate with Director, Music Director, Choreographer and other supervisors to develop the Rehearsal Calendars and Weekly/Daily Call and to effectively disseminate in a timely manner. Adjusts or calls additional rehearsals and participants as needed in coordination with the Director. Music Director, Choreographer or other supervisors. • Create and maintain the Prompt Book containing the official script, blocking and cues. • Create and maintain all paperwork for the technical & artistic execution of the production. • Maintain confidentiality of all documents, discussions or private conversations. • Assume active responsibility for the tenor and efficiency of rehearsals. • Ensure the rehearsal/performance environments are safe spaces, literally and figuratively. • Coordinate with everyone in the room to adhere to the Weekly/Daily Call by announcing when rehearsals and breaks begin/end. Remind the Director (or other supervisor) to shifts in schedule and efficiently facilitate these shifts. • Take attendance during rehearsal and create/monitor a sign-in sheet for Tech/Dress and Performances. Contact Cast and Crew when they are unexpectedly absent. • Record Line Notes and distribute them to the Actors. • Oversee the logistics and organization of props and set pieces, tracking entrances and exits. • Ensure that the stage/rehearsal room is properly cleaned and set up prior to Rehearsal. • Ensure that the stage/rehearsal room is properly struck and cleaned after Rehearsal. • Assign and ensure completion of a Pre-show, Intermission & Post-show duties. • Prepare and send Rehearsal & Performance Reports in a timely manner. • Maintain open communication with Cast, Crew and Production Team in-person or electronically. Anticipate the need find answers, follow-up and/or issue reminders by being prepared, carrying a notepad and reviewing notes regularly. • Lead Production Meetings and Paper Tech. Coordinate additional meetings as needed. • Schedule Costume Fittings in collaboration with the Costume Shop Supervisor. • Call the cues during Tech/Dress and Performances. Train the ASM as backup. • Coordinate with the House Manager when the House is ready to be opened/closed and communicate with Cast and Crew. • Maintain the artistic intentions of the Director and Designers once the show opens. Ensure the consistent execution of each performance and follow-up if opportunities arise. • Prepare for and assist in the audition process in accordance with the Director’s needs. • Assist in communicating and upholding company policies (incl. Department, University and Stage Management policies) and safety procedures (as directed by the Producer, Production Manager, TD or Costume Shop Supervisor) with Cast, Crew and the Production Team. • Additional duties, as necessary, as directed by the Producer, Director, Production Team or Faculty & Staff to safely and efficiently execute Rehearsal/Performance per the Director’s vision. Revised 08/09/19 Page 45 of 56 Department of Theatre Stage Management Manual Addendum 13: Job Description - Stage Manager STAGE MANAGER TIMELINE The following is a general timeline and may not be all-inclusive. For more detail, refer to the Stage Management Manual. Prior to Auditions • Read Script and Stage Management Manual. • Check out a set of keys from the TD. • Discuss your role with Director. • Make copies of audition materials and tentative rehearsal calendar etc. • Inform Production Manager of any audition needs. Auditions • Arrive 1hr. prior. • Unlock needed doors. • Set up. • Distribute tentative rehearsal calendar. • Announce the process and call backs or posting will be made. Afterwards: • Clean up, turn out lights & lock all doors. • Distribute call back list or post cast list if asked. • Return any keys to the TD. Prior to Production Meetings • Poll the production team to determine available time & schedule with the Director and Department Secretary. Production Meetings • Lead the meeting and address unresolved items. • Keep the meeting flowing and on schedule. • Email Meeting Minutes within 48hours or less. Prior to Rehearsals • Participate in Tape Out of the set. • Check out a set of keys from the TD. • Get a copy of the script from the Department Secretary and make prompt book w/GP from the TD. • Discuss your role with Director, Music Director and Choreographer. • Make final rehearsal calendar with Director. • Contact all cast, introduce self, send rehearsal calendar, remind about Bios, inform them about scripts and get contact info. • Contact all ASM’s and discuss their utilization and schedule. • Complete all paperwork: Rehearsal Calendar, Weekly/Daily Calls, Contact List, Character Scene Breakdown, Prop Tracking Plot and Line Notes. 1st Rehearsal • Remind actors to check their emails daily. • Discuss rehearsal policies. Rehearsals • Arrive 15min prior. • Unlock needed doors. • Set-up the rehearsal room. • Keep on-schedule. • Record blocking, remain on-book/give line notes (ASM) and track props (ASM). Revised 08/09/19 Page 46 of 56 Department of Theatre Stage Management Manual Addendum 13: Job Description - Stage Manager Afterwards: • Clear stage of props and furniture. • Turn out lights & lock all doors. • Email Daily Call and Rehearsal Report by 9am following day. • Check in with the shops daily (continue thru dress rehearsals). Prior to Tech Rehearsal • Determine date/time & schedule for Paper Tech, Sitzprobe & Tech with Prod. Team. • Contact all crew, introduce self, send tech/performance calendar, get contact info and schedule their crew view. • Ensure tech table, clear com, god mic, backstage monitors and blue lights are set up. • Ensure Prop Master has set up prop tables and create Prop Preset Checklist. • Create Backstage Run Sheet, Shift Plot(s), Sign-in Sheets. • Update prompt book with cues. • Review Emergency procedures with the Production Manager. Tech/Dress Rehearsals • Arrive 15min prior • Unlock needed doors, do not open dressing rooms until call time. • Train crew, review safety policies and clear-com operations. • Set-up the theatre and sweep/mop. • Install spike/glow tape. • Update prompt book with new/updated cues from LD and SD. • Conduct short meeting with ASM’s/crew to touch base each night. • Ensure fight calls, warm-ups and photo calls take place as expected. • Keep on-schedule and give calls for: “1hr.”, “Sound Check/Prop Check”, “30min.”, “15min.”, “10min.”, “5min.” and “places”. Afterwards: • Remind cast/crew of next call time. • Check in and dismiss ASM’s/crew. • Turn out lights & lock all doors. • Email Daily Call and Rehearsal Report by 9am following day (if needed). Performances • Arrive 15min prior • Unlock needed doors, do not open dressing rooms until call time. • Set-up the theatre and sweep/mop. • Conduct short meeting with ASM’s/crew to touch base each night. • Ensure fight calls, warm-ups and photo calls take place as expected. • Keep on-schedule and give calls for: “1hr.”, “Sound Check/Prop Check”, “30min.”, “15min.”, “10min.”, “5min.” and “places”. Afterwards: • Remind cast/crew of next call time. • Check in and dismiss ASM’s/crew. • Turn out lights & lock all doors. • Email Daily call and Performance Report by 9am following day. Closing • Clean up booth and remove personal belongings. • Borrowed scripts, scores or librettos should be erased and returned to the Department Secretary. • Return any keys to the TD. • Attend Strike. Revised 08/09/19 Page 47 of 56 Department of Theatre Stage Management Manual Addendum 13: Job Description - Stage Manager SCHEDULE (subject to change) Day Date Call Auditions Tape Out Production Meetings Rehearsals Paper Tech Tech Dress Performances Strike • I acknowledge that I will read the department Stage Manager Manual in it’s entirely and will adhere to the policies therein. • I agree to adhere to the job description, timeline and schedule listed above, subject to any necessary additions or changes that arise during this ongoing collaborative process. • I agree to keep in regular communication with my Stage Manager and mentor at all times and/or when the expectations are unclear. Stage Manager (Signature) (Date) Technical Director (Signature) (Date) Revised 08/09/19 Page 48 of 56 Department of Theatre Stage Management Manual Addendum 14: Job Description - Assistant Stage Manager JOB DESCRIPTION – ASSISTANT STAGE MANAGER Stage Management is responsible for two basic production needs: • The safe and efficient execution of Rehearsal/Performance per the Director’s vision. • Facilitating communication between all Cast, Crew and Production Team. RESPONSIBILITIES • Assist in coordinating and liaising between the Director, Cast, Crew, and Production Team during Pre-production, Rehearsal, Performances and Post-production. • Assist in creating and maintaining all paperwork for the technical & artistic execution of the production. • Maintain confidentiality of all documents, discussions or private conversations. • Assist in the responsibility for the tenor and efficiency of rehearsals. • Assist in ensuring the rehearsal/performance environments are safe spaces, literally and figuratively. • Record Line Notes and distribute them to the Actors. • Oversee the logistics and organization of props and set pieces, tracking entrances and exits. • Assist in ensuring that the stage/rehearsal room is properly cleaned and set up prior to Rehearsal. • Assist in ensuring that the stage/rehearsal room is properly struck and cleaned after Rehearsal. • Ensure completion of a Pre-show, Intermission & Post-show duties. • Maintain open communication with Cast, Crew and Production Team in-person or electronically. Anticipate the need find answers, follow-up and/or issue reminders by being prepared, carrying a notepad and reviewing notes regularly. • Be trained as backup to call the cues during Tech/Dress and Performances. • Assist in maintaining the artistic intentions of the Director and Designers once the show opens. Assist in ensuring the consistent execution of each performance and follow-up if opportunities arise. • Assist in communicating and upholding company policies (incl. Department, University and Stage Management policies) and safety procedures (as directed by the Producer, Production Manager, SM TD or Costume Shop Supervisor) with Cast, Crew and the Production Team. • Additional duties, as necessary, as directed by the Producer, Director, Stage Manager, Production Team or Faculty & Staff to safely and efficiently execute Rehearsal/Performance per the Director’s vision. Revised 08/09/19 Page 49 of 56 Department of Theatre Stage Management Manual Addendum 14: Job Description - Assistant Stage Manager ASSISTANT STAGE MANAGER TIMELINE The following is a general timeline and may not be all-inclusive. For more detail, refer to the Stage Management Manual. Prior to Rehearsals • Read Script and Stage Management Manual. • Discuss your role and schedule with Stage Manager. Rehearsals • Arrive 15min prior. • Assist in setting-up the rehearsal room. • Help keep on-schedule. • Remain on-book/give line notes and track props. Afterwards: • Assist in clearing stage of props and furniture. • Check in with SM before leaving. • Assist in turning out lights & locking all doors. Prior to Tech Rehearsal • Assist Prop Master to set up prop tables and create Prop Preset Checklist. • Assist in create Backstage Run Sheet, Shift Plot(s). • Review Emergency procedures with the Production Manager. Tech/Dress Rehearsals • Arrive 15min prior. • Assist in setting-up the theatre and sweep/mop. • Install spike/glow tape. • Attend short meeting with SM/crew to touch base each night. • Ensure fight calls, warm-ups and photo calls take place as expected. • Keep on-schedule and assist, as needed, giving calls for: “1hr.”, “Sound Check/Prop Check”, “30min.”, “15min.”, “10min.”, “5min.” and “places”. Afterwards: • Assist in clearing stage of props and furniture. • Check in with SM before leaving. • Assist in turning out lights & locking all doors. Performances • Arrive 15min prior. • Assist in setting-up the theatre and sweep/mop. • Attend short meeting with SM/crew to touch base each night. • Ensure fight calls, warm-ups and photo calls take place as expected. • Keep on-schedule and assist, as needed, giving calls for: “1hr.”, “Sound Check/Prop Check”, “30min.”, “15min.”, “10min.”, “5min.” and “places”. Afterwards: • Assist in clearing stage of props and furniture. • Check in with SM before leaving. • Assist in turning out lights & locking all doors. Closing • Clean up backstage and remove personal belongings. • Attend Strike. Revised 08/09/19 Page 50 of 56 Department of Theatre Stage Management Manual Addendum 14: Job Description - Assistant Stage Manager SCHEDULE (subject to change) Day Date Call Tape Out Rehearsals Tech Dress Performances Strike • I acknowledge that I will read the department Stage Manager Manual in it’s entirely and will adhere to the policies therein. • I agree to adhere to the job description, timeline and schedule listed above, subject to any necessary additions or changes that arise during this ongoing collaborative process. • I agree to keep in regular communication with my Stage Manager and mentor at all times and/or when the expectations are unclear. Asst. Stage Manager (Signature) (Date) Technical Director (Signature) (Date) Revised 08/09/19 Page 51 of 56 Department of Theatre Stage Management Manual Addendum 15: Job Description – Prop Master JOB DESCRIPTION – PROP MASTER TBD Revised 08/09/19 Page 52 of 56 Department of Theatre Stage Management Manual Addendum 15: Job Description – Prop Master PROP MASTER TIMELINE TBD Revised 08/09/19 Page 53 of 56 Department of Theatre Stage Management Manual Addendum 15: Job Description – Prop Master TBD SCHEDULE (subject to change) Day Date Call Production Meetings Rehearsal Props Due View Show Tech Dress Performances Strike Revised 08/09/19 Page 54 of 56 Department of Theatre Stage Management Manual Addendum 16: Job Description – Sound Board Op JOB DESCRIPTION – SOUND BOARD OPERATOR TBD Revised 08/09/19 Page 55 of 56 Department of Theatre Stage Management Manual Addendum 16: Job Description – Sound Board Op SOUND BOARD OPERATOR TIMELINE TBD SCHEDULE (subject to change) Day Date Call First Call/Crew View Meet with Sound Engineer Paper Tech Tech Dress Performances Strike Revised 08/09/19 Page 56 of 56