Stage Management

Stage Management Everything you need to know about being a Stage Manager

What is a stage Manager? • The Stage Manager is a sort of assistant to the director, providing organizational and practical support to the director and staff during the rehearsal process • The Stage Manager is the liaison between the director, cast, design staff, and technical staff during the rehearsal process

So what are some jobs of the stage manager? • The Stage Manager is responsible for a number of jobs during the rehearsal process and the running of the show • During rehearsals, Stage Managers are responsible for taking down blocking, as well as changes made by the director • Stage Managers also organize the cast during rehearsals, and communicate changes and updates to the rest of the design and technical staff • During the show, the Stage Manager is responsible for calling cues (these tell when lights, sound, etc. change during the show) • The Stage Manager is responsible for taking down production notes and overseeing the production during the show

The stage manager survival kit • As a Stage Manager, you’ll need a few things to survive every rehearsal • Your Blocking script- This is your Holy Book during rehearsals. Your blocking, notes, and initial cues will go in this script • A pencil- Things change a lot during the rehearsal process, so you’ll need a pencil to write down notes and erase any changes made • A notebook- Any notes that don’t fit in your script go in this notebook. It can come in handy when your writing the rehearsal report, which we’ll discuss later • 2 Binders- you will put one script in each, as well as other paperwork. This will be your organizational tool throughout the process • Other- Depending on the show, you’ll need a variety of different things (Rehearsal CD, props, etc.), especially if the director requests them

Your script and you • As a stage manager, you will become very close with the script. All of your notes and cues will go into the script, and you’ll use it every rehearsal • The stage manager will have to read the script a few times • Read the script first for fun. That way, you’ll familiarize yourself with the script and enjoy it • Read the script again with a pencil in your hand. Take some rough technical notes • Read the script again, penciling in some places where you believe there will be cues. This will give you a rough idea of how the cues will be laid out • Your script will be your new best friend for the rehearsal process

Meet the staff • During the rehearsal process, you will be working closely with the musical staff • The staff is usually broken up into design staff, who deal with the aesthetic aspects of the show, and the technical staff, who deal with the technical aspects of the show • Get to know these staff members, and be sure to ask for their e-mail addresses, so they can be included in the rehearsal report Insert your staff here!

Before the cast shows up… • The Stage Manager is responsible for all the paperwork that goes into a show, so it’s time to get organized • Obtain any and all paperwork from the director. This should include a schedule, a French Scene Breakdown (which character is in which scene), as well as other things • Organize these papers in a binder, using tabs to separate the different categories of paperwork. • Get at least two copies of the script for yourself. Put one in each binder (one will be your calling script, and one your blocking script). • Make sure to ask the director if they need anything else before the cast shows up. Remember, you are there to help them You wish…

The first rehearsal • The first rehearsal is the first time you will be in contact with the cast, so you must make a good impression • The first thing to do is pass out paperwork to the cast. This will usually include a schedule, contract, and additional information • Make sure to keep copies of this paperwork. Actors have a tendency to lose this paperwork, so it’s good to have extra copies • The director and his staff will usually talk to the cast about their roles in the production, as well as their expectations. Take this time to tell the cast what you do, and what you expect from them.

Cast Paperwork! • Each cast member will be required to submit a contract and payment for the show, and some medical information in some cases. It is your job to keep track of this paperwork and make sure that it is all submitted • Create a “Paperwork Grid”, showing which cast member has turned in their paperwork. Make sure to include contract, payment, and medical information. Update this grid each week and send it out to the director and producer, so they can keep track as well • Payments may be broken into different categories. Show fees, makeup kits, and shoes could all be part of the payment, so split up the payment section to keep track of who has paid for what Don’t let this be you

The rehearsal process • Before rehearsals start every day, there are a few things to do • Before rehearsal begins, take attendance to ensure that all cast members are present. If not, contact the actor/actress and remind them they are required at rehearsal • Ask the director if they have any special needs for the rehearsal. This might include props, music, or any number of things • Get your rehearsal binder out and get ready to take notes!

The rehearsal Process • Rehearsals are broken up into three main categories • Dancing • Singing • Acting Acting rehearsal from the Playhouse Theater (they added a “frying pan” category)

Dancing Rehearsal • Dancing rehearsals are specific to musicals • During dance rehearsals, the choreographer will teach cast members their dance steps, or review previously learned dances • Ask the choreographer if s/he has any special prop or piece needs required to teach the choreography • Your job in dance rehearsal is pretty simple: Play the music for the cast. • Make sure to take note of tempo changes or cuts that the choreographer adds during rehearsal, and add them to the rehearsal report

Singing/vocal Rehearsals • Singing/Vocal rehearsals are specific to musicals as well • During vocal rehearsals, the vocal director will teach the cast the songs in the show, or review previously learned songs • You won’t have a lot to do during vocal rehearsals, just keep the cast focused and help the vocal director in any way • If there is a pianist during singing rehearsals, offer to help him in any way as well

Acting rehearsals • Acting rehearsals are involved in both musicals and plays • During acting rehearsals, the director will set blocking for scenes and instruct characters on how to “play” their characters • Acting rehearsals are very busy for the stage manager • You will need to take down all the blocking the director gives during the scene • Include any lighting, sound, or stage notes as well, so these can be distributed to the staff • Help the director in any way possible: this may include prop running or playing music if needed

Blocking • Blocking is keeping track of how the characters and set pieces move during a scene. This is crucial in writing light and set cues • Par of your blocking notation will be the stage notation. Upstage, downstage, stage left, and stage right can be abbreviated (US, DS, SL, SR). See the pictures on the next slide • Blocking notes will go in your blocking script. There are a number of important symbols in writing blocking • X-cross • S-sit • R-rise/stand • Π-chair or table • You may need to create your own symbols to describe stage direction The 9 Main Areas of the Stage

Blocking Pictures

After the rehearsal • Once the rehearsal is over, your job is not done • Make any announcements that you have regarding paperwork, schedule changes, etc. to the cast once rehearsal is finished • Stay around until the cast has left, as they may have some questions • Ask the director if they need any help putting things away, or if they have any additional notes • If you are the last one in the rehearsal space, be sure to lock up, or ask someone who works in the space to ensure it is locked. • Send out the rehearsal report

The rehearsal report • The rehearsal report will contain all of the notes from the day’s rehearsal • This will be sent out to every director, design staff member, and technical staff member, to keep everybody informed • The rehearsal report should contain rehearsal start and end times, cast absences, and what was covered during the rehearsal • Also in the report, include note areas for lighting, acting, vocals, costumes/makeup, set, props, and any miscellaneous information • The rehearsal report should be sent out immediately following the rehearsal, and be sent to all musical staff

Taping the floor • One of the duties of the stage manager is to tape the floor. Taping the floor means placing spike tape on the stage to resemble the set, so the cast can get used to rehearsing with the set • Obtain the floor plans from the set designer. Divide the floor plan in half and label every major point on each side with a number • Taking into account the scale of the set, transfer these dots to the set. Then play connect the dots. You now have a working model of the set • If there are multiple sets in the show, it may be helpful to tape each set in a different color of tape

Paper tech • Paper tech is the time when all of the directors and design staff will create a rough list of cues • Each member of the design team will have read the script, and have a rough idea of how and where they want cues in the show. • During paper tech, it is the Stage Manager’s job to write down these rough cues, what they do, and where they are called in the show. • Paper tech will allow you to begin cue writing. Once you receive final cues, you can put your final calling script together Your script after a Paper Tech (the drawing in the upper left is a good example of blocking as well)

The master cue list • After paper tech, all of the designers will send their finalized cues to you. It is your job to put these cues into the master cue list • The master cue list is usually put together in Microsoft Excel, and contains every cue in the show • The master cue list is a combination of several spreadsheets, each technical aspects (light, sound, etc.) has their own spreadsheet • Each cue will have a symbol (letters for sound, numbers for light and stage, 1000 numbers for spots), a cue line, and a description of what happens in each cue • Once the master cue list is finished, send it to all of the designers and technical staff; they will distribute it to their crews An example of the cue sheet you’ll have to make

The calling script • Once you receive the final cues from all of the designers, it is time to put together your calling script • The calling script will replace all of your notes with cues, the simple letters or numbers established in the master cue list • When putting together your calling script, place the cue symbol next to the cue line. • Each cue should also have a warning call 5 lines before the actual cue. This will warn the tech staff that a cue is coming up • If needed, highlight each cue or write it in bright, vibrant colors. This will ensure you don’t miss the cue

Calling the show • When calling a show, the key is to be clear, concise, and accurate • Specify what cue you are calling, for example “Light 5, Sound T”. • Make sure to give a warning call before the cue. “Light 5 ready, Spot 1003 ready” • When the cue is intended to go, call the cue. “Light 5 GO, sound T GO” • If you make a mistake, make note of it, then forget it for the rest of the show. Worrying about a mistake will only lead to more mistakes • Remember, the show stops for nobody. Unless there is an immediate safety risk, the show must keep going

Dry Tech • About two weeks before the show opens, the tech crew will run a dry tech • A dry tech is a run of all the cues in the show without actors present • Each cue will be run to ensure there are no problems with the cue or the timing involved • During a dry tech, only fix the problems that can be fixed quickly; major problems can be addressed after the dry tech

Wet tech • A wet tech is a running of the cues WITH actors present • A wet tech will allow the technical team to run its cues in context with the show • This is also the time to address timing issues or errors in the cues • During a wet tech, you will most likely not have time to stop and fix problems. Make note of any errors, but don’t dwell on the mistakes (this can lead to more mistakes)

The show • All of the rehearsals have been completed, and all that is left is the show • During the show, the stage manager’s sole job is to call the show • Before the show begins, call how many minutes are left before places (15 minutes until places, 10 minutes until places) • Once places comes, ask for an all-call from the tech stations. This is to ensure that all of the tech crews are in place • Once the show is done, send out a production report (a rehearsal report on the production) Don’t forget to enjoy the show!

Congratulations!!!You Made It! • Now that the show is over, tie up any loose ends with the directors and pat yourself on the back, you made it • This completes your stage manager training, good luck on the big show! Some words of wisdom to send you on your way…

Stage Management