DON CORATHERS Responsible for everything

What it takes to be a stage manager

BY MIKE LAWLER

DRAMATICS • OCTOBER 2005 Michele Kay worked as a professional stage (PTTP), views his primary task as facili- manager in New York, Chicago, and Nor- tating information between the various folk, Virginia before joining the faculty at collaborators involved in a production. the University of Cincinnati’s College-Con- “I see a play as a series of conversa- servatory of Music last year. tions and my job is to manage those conversations. I manage people, not searching for a soda machine, a boom- things,” he says. This makes paperwork ing voice came through the PA speak- a big part of the job. ers that hovered above me. In order to properly manage the “This is God,” it said, “and I want a many conversations taking place, the Diet Pepsi.” stage manager collects and tracks every It was, of course, the stage manager. detail pertaining to the production, in- I learned early that respecting and cluding information regarding props, obeying the stage manager goes a long costumes, scenery, special effects, way whether you are an actor, stage- sound, lighting, blocking, performers, hand, designer, or director, but most backstage crews, dialogue, and much SMs would never go as far as likening more. Each aspect of the show is re- themselves to a god. Nor should they. corded and made into a list or report. In fact, stage managers will be the first Stage managers, or their assistants, to tell you that while their responsibili- known as ASMs, will eventually com- ties are immense, they are as fallible pile a mountain of paperwork that in- and likely to mess up as the rest of us. cludes props lists, costume tracking sheets, blocking notes, line notes, and A manager for the stage daily reports. Much of this paper will Stage managers, as a group, find it diffi- end up in a stage manager’s cult to fully detail what their duties ac- promptbook, or “bible,” which also in- tually are because they do everything. cludes their annotated script. They will “I am a manager like any company use this usually massive notebook has a manager only I do it for the binder to run the show. When the pro- stage,” explains Michele Kay, a profes- duction closes, the production manager sional SM who teaches stage manage- will keep the “bible” for future produc- ment at the University of Cincinnati. tions of the same show or as a refer- Lawrence Stern, author of Stage Man- ence for future shows that may have agement, a manual for stage managers similar needs. and theatre students first released in Stage managers stay on top of this 1974 and now in its eighth edition, de- wealth of information by keeping each scribes the stage manager as the per- member of the production team as in- son who ensures that “things run formed as possible throughout the en- smoothly onstage and backstage, be- tire process. The primary way they do fore, during and after the production.” this is by producing rehearsal reports YEARS AGO I was crewing a show Finding your way past vague explana- after each rehearsal and distributing in one of these big houses in South- tions is tricky when it comes to a typi- them to everyone involved in the pro- ern California—the kind with a maze cal professional stage managers job. At duction. Many stage managers will con- of basement level service hallways one point Stern advised me simply, tinue this process after the show opens and anonymous areas that provide “Read my book.” by distributing performance reports fol- space for dressing rooms, laundry Above all else, stage managers are lowing each performance. Communica- rooms, green rooms, trap rooms, and responsible for tracking and coordinat- tion and record keeping such as this is a myriad of others. The stage man- ing information. “I coordinate every- key to managing the large number of ager asked me politely to go down thing that occurs within the rehearsal details that are changed or added daily into the maze to buy a soda from a hall; I communicate that to those out- during the rehearsal process. Because vending machine for him. side the rehearsal hall,” Kay explains. there are so many departments in- “What do you want?” I asked. “Then I call cues for various operators volved in a typical professional theatre “Um, I don’t know, surprise me,” to run the show.” Rick Cunningham, production, stage managers must keep he said. head of the stage management pro- on top of the progress and problems of As I wandered through the seem- gram for the University of Delaware’s each in order to facilitate communica- ingly endless halls below the stage Professional Theatre Training Program tion between them all. OCTOBER 2005 • DRAMATICS as it was directed and designed. When there are problems during a perfor- mance or there is preventative mainte- nance that should take place, the SM will put it in the performance report and distribute it to all concerned per- sonnel of the theatre.

Zen and the art of stage management There are several books about the stage manager’s job that are worth reading (see the list below). New Jersey-based stage manager Gregg Brevoort might have a new one up his sleeve. “I have wondered if maybe I should write a book, Zen and the Art of Stage Manage- ment,” Brevoort says. “I find that an even keel and level-headedness best A portion of a page from the promptbook prepared by Heather Toll, one of Michele Kay’s serves a stage manager.” B.F.A. stage management students, for a CCM production of Side Show. These blocking Brevoort is not alone in this belief. notes are for the top of Act I. The eyeball symbol on the hot pink sticker reminds Toll to The majority of professional stage watch Daisy and Violet and confirm they have crossed midstage before calling the light managers interviewed for this article and sound cues on the orange and green arrows. commented on the importance of the ability to remain calm in the midst of a Calling the show The stage manager is also respon- storm. “I’m rare in my low-key nature A stage manager’s duties shift once sible for maintaining the look and feel and patience under adverse condi- technical rehearsals and performances of the show once the director has tions,” says Richard Costabile, the pro- begin. This is when the SM will put to moved on from the project—usually duction stage manager for Hal use all of the information that was so once the production has officially Holbrook’s touring production of Mark meticulously tracked during pre-pro- opened. In addition to calling the cues Twain Tonight! Michele Kay shares duction, and begin the task of “calling properly so that all technical aspects of this trait too. “Even when I feel like the show.” This is the term used to de- the show remain constant from show there is steam coming out of my ears I scribe how the SM instructs crew- to show, the SM must also ensure that have the uncanny ability to remain members of a production, such as the the integrity of the show remains in- calm,” she says. light and sound operators. With the tact. This includes the look of each ac- This ability to perform and work stage manager “calling cues,” each tor, the condition of every prop and with others calmly while dealing with member of the technical crew will piece of scenery, and the focus of all the stressful situations typical of the- know exactly when to execute their lighting instruments. In short, the SM is atre reveals itself as an important asset assigned tasks. accountable for maintaining the show for successful stage managers. Of course, even the most seasoned veter- ans find themselves in difficult situa- Recommended reading tions that make it nearly impossible to Recommended by the stage managers interviewed for this article. remain calm. “When a friend fell back- wards into an orchestra pit, that shook The Backstage Guide to Stage Management, by Thomas A. Kelly, Back me,” says Kay, describing one of the Stage Books, 1999 more harrowing events she’s experi- From Page to Stage: How Theatre Designers Make Connections Between enced. “But generally I’m very calm as Scripts and Images, by Rosemary Ingham, Heinemann, 1998 a stage manager.” Stage Manager: The Professional Experience, by Larry Fazio, Focal Press, Because entire production teams 2000 look to the stage manager for support Stage Management, by Lawrence Stern, Allyn & Bacon, 2005 and guidance in stressful times, this is The Stage Management Handbook, by Daniel Ionazzi, Betterway Books, an important lesson for young stage 1992 managers to learn. “After all,” ex- plains Costabile, “it’s only a show. We

DRAMATICS • OCTOBER 2005 don’t have a patient on the operating common practice for non-union stage for theatres under Equity contract table.” managers, the Equity list also states while training to be a professional that SMs should not shift scenery or stage manager. Teaching stage management run lights, order food for the com- According to the pros, practical expe- pany, or handle contracts. You’ll get to Broadway someday rience is the most effective way to When and if to join AEA is a big Poulson’s advice for how to become a learn the craft of stage management. question for up and coming stage good stage manager is direct. “You “I would rather see first hand what managers, and the advice that they en- need to know how to think, ask ques- works for other stage managers, than counter is usually quite diverse. The tions, and solve problems. You need to look for guidance from a text- SMs featured in this article have con- to understand literature, art, history, book,” Brevoort says. Putting it trasting views as well. Cunningham, and so much more [because] you plainly, Cindy Poulson, who teaches who has headed up PTTP’s stage man- need to be able communicate articu- stage management at the University of agement training program for sixteen lately about so many things. Get a Wisconsin, Milwaukee, says, “practical years, advises young stage managers good education,” she says. “Theatre is experience beats everything else.” to join AEA “as soon as you can.” But not for dummies.” As for the details of And judging by the successive edi- Kay disagrees. She advises students excelling as a stage manager, Kay be- tions of his book, Stern seems to to avoid rushing into the first Equity lieves you must have thick skin, but agree. “Since initial publication in the gig that comes their way. “Just be- also be capable of compassion. “Don’t early 1970’s, my book has evolved cause it is there, doesn’t mean it take anything personally; likewise, from a manual for stage managers to should be taken,” she says. “Once when you reprimand, attack the prob- a textbook for future stage managers,” you make the choice you cannot go lem, not the person,” she says. “Treat he says. “I believe that the most effec- back.” That is, as a union member, people with dignity, trust, and respect tive way to teach is to thrust the stu- you will no longer be able to work and you will get the same in return.” dent into doing it.” on non-Equuity shows. “Take it slow,” Kay says, “and Not just anybody can put on a Both Costabile and Poulson offer you’ll get to Broadway someday.” headset and call a show, though. “A similar advice. They agree, as does lot of stage management can be Kay, that being able to compete for Mike Lawler is a freelance writer who taught, but if someone doesn’t have it, AEA jobs is critical for determining has worked professionally in technical they won’t be a successful stage man- when the time for joining AEA is theatre for over ten years. He lives in ager,” Kay says. The “it” is what Kay right. Without proper qualifications Austin, Texas. refers to as an “inherent ability.” “All and experience, vying with more ex- the classes in the world won’t make perienced professionals for work at me a better singer,” she says. “The Equity theatres will be extremely dif- same can be said for stage managers.” ficult. Poulson raises another important Equity and stage managers consideration: where do you plan to Most professional SMs are members of live and work? She encourages nov- Actor’s Equity Association (AEA), a ice SMs to seriously research how labor organization that represents the- many Equity stage managers the com- atre actors and stage managers in the munity can support. One thing all of United States. Stage managers play a the pros do agree on is the impor- critical role in the union, commonly tance of consulting stage managers known as Equity, and are responsible who work professionally in the city for seeing that its rules are followed you want to live and work in. They during the entire production process. will have the best information about The definition of the duties of a how to proceed—both in terms of stage manager posted on the Equity when to join AEA and how to find website (at www.actorsequity.org, in entry-level gigs in your area. the document library section) provide Another great resource is AEA it- some insights into the job responsibili- self. According to Maria Somma, an ties at the professional level. Among Equity spokesperson, a good way to other things, the list notes tasks such gain experience as a stage manager as calling rehearsals, maintaining a while earning credit toward Equity promptbook, and “maintaining the ar- membership is through their Equity tistic intention of the director and the Membership Candidate Program, or producer after opening….” Though EMC. In this program, you can work OCTOBER 2005 • DRAMATICS Originally published in Dramatics magazine. More info: Schooltheatre.org