Managing the show Training student stage managers BY LISA MULCAHY DON CORATHERS The job of stage manager is argu- ably the most demanding task one can tackle in the theatre. Think about it: what other role requires flawless or- ganizational skills, techie logic, great people smarts, and the ability to con- centrate under intense pressure—all to help the director, designers, cast, and crew shine? The good news: although stage man- aging is a formidable challenge, it’s im- mensely rewarding. The stage manager of a successfully run production enjoys an incredible amount of pride at a job well done, plus learns a host of valu- able skills that can be applied inside the theatre and to life in general. In this article, I’ll delve into the specifics of how you can introduce your students to the concepts of qual- ity stage management. We’ll cover the right way to immerse them in the pro- cess hands-on during the preparation and staging of an actual student show. A key portion of our focus will be on nuts-and-bolts matters like running auditions and rehearsals, noting block- ing, and calling cues—all of which are crucial skills your student stage managers need to master. Just as vital, though, is imparting the importance of independent thinking strategies to the job. Really, teaching the principles good stage management is teaching the principles of strong leadership. A lot of what I have to say about managing a production may be very familiar to you in your work as both a teacher and a director. But I think reviewing the basics is worthwhile, especially given that these include tasks you’re perhaps accustomed to doing yourself—in the case, managing a production—but are now going to delegate to students. TEACHING THEATRE 3 What it takes as she’s committed to learning absolutely and each of the others will be assigned Having directed many educational everything it takes to do the job well. the job of assistant stage manager (or productions, and employed numerous A case in point: due to a conflict with ASM). For the student shows that follow, student stage managers with great suc- school break, I was once forced to cast a everyone will rotate positions, so that cess, I’ve often been asked, “How can student show without a stage manager— each student gets a chance to SM eventu- you determine whether a potential stage there simply wasn’t anyone around who ally. manager is suited to the job or not?” To was qualified for the job. A freshman au- This is a very fair system. First of all, answer that question, you have to first ditioned for me who didn’t have a great chances are good that one student will consider the base amount of experi- deal of enthusiasm about acting, but was emerge during that initial week as the ence and skill required for the job. Most very interested in how things worked strongest natural candidate for the po- importantly, a potential stage manager backstage. He expressed this to me as sition, and therefore will clearly earn needs to have some knowledge of the we chatted before his reading. He’d the first SM spot. Students who perhaps director’s and designer’s goals for the worked on the set crew for a couple of haven’t quite grasped the organizational production. He should also have some community theatre productions, and had or technical basics of the job, can still backstage experience as well (say, on a taken the initiative to read several books be highly involved in the process as running crew). on technical topics on his own. As this ASMs. What’s more, they will pick up Not many high school students will was a small three-actor, character-driven the experience they need to eventually be experts in backstage procedures. piece, I decided to take a chance and take on the SM job at their own pace. However, your goal in teaching them to offered him the open SM position. He Also, any student who learns that stage be stage managers (or SMs, as they are was thrilled and excited; he threw him- management simply isn’t for him can frequently called) includes many of the self into the process. Throughout our let you know that without a lot of pres- following: rehearsal period, he asked all the right sure, and can move on to something • Schedule, organize, and run audi- questions and, when he made a mistake else. tions. out of inexperience, made it his business Finally, the ASM is not just a training • Organize and run rehearsals. to learn what he should have done and position in a school production. While • Assemble and supervise a technical doubled back to do it. He turned out to the assistant can learn a great deal by crew. be a joy to work with. simply observing the work done by the • Supervise actors’ schedules and to The most effective way to train a nov- SM, this is also a job with specific tasks meet their needs. ice SM, plus ensure that the show is man- that are as important as any other in the • Create and be responsible for a aged properly, is by shadowing him ap- production process. full production notebook (known as a propriately. Please note that shadowing An ASM’s duties can include: prompt book), containing all essential is not hovering—breathing down your • Aiding the SM in assigned tasks information about a show. student SM’s neck every time she picks relating to auditions or rehearsals—like • Write and maintain all blocking up her pencil to make a blocking note is setting up chairs and set pieces, making notes. not the way to inspire confidence. Before sign-in sheets or signs, and keeping track • Secure and place rehearsal set piec- you discuss each task you assign to this of prop inventory. es and props, as well as mark rehearsal individual, review it on your own, step- • Keeping rehearsal and stage spaces spaces with tape when necessary. by-step—if it helps, write it down. Then clean. • Plan and run technical rehearsals. outline the task to your student SM, ex- • Being competent at operating light- • Call the show’s cues. plaining how it should be completed and ing, sound, or set equipment (in case • Plan and run each performance. what tools she will need to do so. Then they have to step in for an absent mem- An aspiring SM ought to have some let her give it a try, and check in after a ber of the running crew). personal qualities as well. Those include: while to see how things are going. This • Performing tasks assigned by the SM • Practical reasoning ability. approach affords the SM a sense of inde- during all tech rehearsals and the show • Good organizational skills (espe- pendence as she tackles a task her own run. cially in regard to note-taking and paper- way, plus demonstrates that you trust her The process of guiding your student work). judgment and talent. SMs through a show no doubt seems like • Good communication and listening If you find you’ve got several less- a lot to bite into, especially if you’re also skills. than-experienced but eager potential directing the show and managing your • A knack for staying cool under SMs, training the whole lot of them at students in a slew of class and individual pressure. once can be a great idea. Here’s how projects. The best way to approach things • A willingness to take charge with to proceed: hold a group meeting with is by dividing the job into four parts and ease and an an understanding of when all of these candidates, and explain that walking your students through it in se- to delegate (and when not to). you will give them all an equal chance to quence. The four parts are show prepa- Can a student without heavy tech learn stage management basics with you ration, rehearsals, tech, and the show. credits, but who is highly enthusiastic, for a week. At the end of that time, one What follows is a detailed outline of each be a good stage manager? Yes, as long of them will be assigned the SM position, step. 4 TEACHING THEATRE Show preparation formances. If you are in fact the director, ing when costume fittings, tech runs, and Primarily, this section deals with exactly you can turn the meeting into an exercise, special dance or music rehearsals are to what it says—the mechanics of setting up making sure he’s asking all the right ques- be scheduled; how many members of set to do the show. Here’s the steps: tions in order to get the information he and costume crews will be needed; what 1. Meet with the director. A stu- needs. If you’re not the director, you can rehearsal set pieces and props must be dent SM must understand the director’s also set up a role-playing session before procured; and the agreed-upon dates for vision for the show, both conceptually the student actually meets with the direc- tech and dress rehearsals. and technically, as best they can. To do tor, and give constructive criticism about 3. Assemble the tools of the trade. that, he ought to meet with the direc- how he might ask clearer or more pointed An SM is only as good as the tools she tor (which could, of course, be you) as questions. uses to do the job.