Stage management

1. Stage management Part Five

2. Performance Checklist • During tech rehearsals you have developed a CHECK LIST for your activities before each performance. • Stage management is responsible for SWEEPING and MOPPING the stage floor. There might be someone on the SET CREW that actually does the work, but often it's stage management.

3. Stage management usually presets the PROPS, although STAGEHANDS sometimes do this. Whether stagehands or stage management presets props, it is stage management's job to CHECK it. • If there is a mistake it's YOUR fault. If there is a prop that must turn on, TURN IT ON! It's not enough to simply set the prop and walk away.

4. Make sure that the PROPS are set exactly the same way each and every time. • Also set the props so that the actors can PICK THEM UP off the table easily. • Then go back over your prop check list and CHECK IT AGAIN. Then check it a final THIRD time.

5. Make sure that all the SCENERY is in working order. The general rule on checking the scenery is IF YOU OPERATE IT, YOU CHECK IT. Make sure your CREW checks all the scenery they operate. Check everything that could possibly go wrong. • When your actors are called to the performance, check the call board to make sure they have all SIGNED IN. If an actor is missing, get on the phone and find out where they are.

6. You will also give the actors CALLS letting them know how much time before curtain. To announce a call say: “Half Hour, this is your half hour call, half hour please, this is your half hour call”. • The calls to give before a show are HALF HOUR, 15 MINUTES, 5 MINUTES, and PLACES. Once the series is established you cannot change it. People are counting on you doing the exact same thing. Keep it CONSISTENT!

7. After you call 5 minutes, check in with the HOUSE MANAGER, and see if they are doing all right. • Once you call PLACES, the actors will head to their respective places. Make sure that you have an assistant there that will relay to you that the actors ARE IN PLACE. • Once you get the all clear from house management and your assistants backstage it's time to START THE SHOW.

8. CALLING THE SHOW • Calling the show involves much more than just CALLING THE CUES. • In addition to calling the cues, it means WATCHING THE SHOW to make sure that everyone is doing exactly what they are supposed to be doing. It means being on the lookout for PROBLEMS that might arise both backstage and onstage and TAKING CHARGE if there is an emergency.

9. But the first part of it is calling the cues. As stage manager you will be responsible for giving all the cues to all the appropriate people • There are THREE parts to every called cue. The WARNING or STANDBY comes first. The second is saying the NAME of the cue or cues. The final part is saying GO. • CONSISTENCY is important here in both timing and wording.

10. The rhythm you are striving for is an easy cadence that tells the operator to one, GET READY and two, EXECUTE the cue. • Give your warnings about 10 TO 15 SECONDS before the cue should be called. Announce the cue about 5 TO 7 SECONDS before you say “GO”. Some sequences have several cues in the same warning

11. You want to make sure that the operator has enough time to get their finger to the button and pay close attention. But you don't want them to get their finger to button then doze off as the wait for you to say “Go”. • Always remain CALM. You are in charge of running the show. If you should happen to make a mistake on a cue, make a note to yourself. Then FORGET about it until the show is over.

12. Your DICTION must be clear. Speak evenly and clearly. Once you have established a VOLUME level, stick to it. • You will have to both SPEAK and LISTEN to the show at the same time. • Never lose your place in the script while you are giving cues.

13. Do not ever try to commit a cue to MEMORY. Make sure that it is clearly and plainly noted in your book. • You should be able to land your cues on the exact targeted SYLLABLE. Circle the syllable for the cue, if it's early or late, try it a syllable earlier or later. You need to be that SPECIFIC. • When you are done with the show, it's a courtesy to thank all the people on HEADSET.

14. Maintaining the Show: Technical Aspects • Maintaining the technical aspects of the show means not only the physical appearance of the SCENERY, LIGHTS, and SOUND but also structural elements and the TIMING involved in their use. • If something breaks during a show, you have two options: either GET IT FIXED or figure out a way to do the show with it BROKEN.

15. After the show you will need to let the DEPARTMENT HEAD in charge of the piece that it is broken. • If it's something that will take some time and scheduling, you will probably want to call them on the phone RIGHT AFTER THE SHOW. If it's something minor you can leave them a NOTE.

16. Maintaining the Actors • In theatre we are all fully aware that the show CHANGES on a daily basis. • Everything has an effect on the performance from the weather to the nightly news to the health of the cast. That said we expect the actors to be somewhat CONSISTENT in their performances.

17. In PROFESSIONAL theater, a director often leaves town once the show is up and running. That's when it becomes the stage manager’s job to keep the actors on track. • In ACADEMIC theater, the director will attend most every performance. If you have notes for the actors, check with your teacher or director before passing them on to the actors and crews. • Never ever allow staging to be CHANGED.

18. Performance Reports • PERFORMANCE REPORTS are a great way to give information about the show to specific individuals and departments on a daily basis.

19. Some performance reports are divided into categories for sets, props, costumes, electrics, and sound. • These sections are to contain any PROBLEMS that occurred during the performance. The various department heads can read these the next day and adjust their schedules to make the FIXES

20. Other information that goes on a performance report includes who was late to their CALL, if any SUBSTITUTIONS were made, and areas of concern for you or others. • You can also include a remark or two about the QUALITY of the show.

21. Emergencies • The key to handling emergencies is to quickly and calmly ASSESS the situation and then decide on the BEST COURSE OF ACTION. • If the emergency happens ONSTAGE, calmly evaluate how to fix it. See if there is a way to solve the problem without STOPPING THE SHOW. • Decide on the best course of action, and then solve the problem.

22. There are times when an actor is too ILL to perform. Always check with your TEACHER or DIRECTOR to see how they want to handle the situation. If it happens DURING the show, tell your teacher or director and they will find someone to take the actor to the hospital and find someone else to COVER for this performance. The audience will need to be told that someone else will play that role. The final option is to CANCEL the show.

23. If you see something happen in the house, call the HOUSE MANAGER. • The house manager should handle emergencies in the audience. • In academic theater, your teacher or director will make this call.

24. If you need to stop the show, calmly ask the actors to LEAVE THE STAGE, addressing them by name. • While house management is fixing the problem, discuss with your actors HOW they will get back onstage and WHERE to pick up the action.

25. If a fire alarm goes off, TURN ON THE HOUSE LIGHTS and calmly get the audience, actors, and crew OUT OF THE THEATER. Ask the actors to meet in a designated spot away from the audience. Discuss where you want to pick up the action when the show resumes. Then wait for the all clear. • Each emergency brings its own set of challenges. All you can do is ACT CALMLY, weigh your OPTIONS and then ACT.