San Jose State University
Department of
Television, Radio, Film and TheatreStage Management Manual
Revised April 5, 2000 by the Stage Management Fellowship
Robert Jenkins, James Culley, David Lee, Marley Morris, Erin Kennelly, David Guzzetta, Elisa Rupert, Melissa K. Vineyard, Kris Huffman, Dodie Ketchem.The members of the Theatre Arts Department Fellowship welcome you to the art and profession of stage management. This manual was first written by Professor James R. "Randy" Earle during his tour of duty as the Department's Technical Director during the 1970s and 1980s. We have updated and added to the procedures he described in these pages to reflect the changing priorities and mission of the Department. While many of the practices in this manual may be applied to stage management assignments anywhere, the details are specific to the Department at SJSU and reflect stage management within a university setting.
We assume that you do not have much experience as a stage manager. Perhaps you are brand new, and are just "learning the ropes." We want you to give yourself as much preproduction time as possible. Read at least one authoritative book on stage management. As of this revision, we recommend The Backstage Guide to Stage Management by Thomas Kelly. His sections on preproduction, first director's meeting, and spiking floorplans are especially useful in the preproduction phase.
Before you accept a stage management assignment, check the Department's master production schedule for the semester and the individual director's tentative rehearsal schedule for the production to determine if you have major time conflicts. A Stage Manager must be available for all rehearsals and performances of the production (with only emergencies excepted) and you must be covered by an Assistant Stage Manager at you are unable to attend a call.
GENERAL STATEMENT REGARDING STAGE MANAGEMENT
The Stage Manager is the master link in the production chain and must provide constant communication between the various specialized areas of the production. The Stage Manager is the prime production organizer and administrator and must be respected and recognized by all as being same. The Stage Manager is the individual responsible for complete documentation of all aspects of the production and for maintaining continuity and discipline within the production.
I. Pre-Production
Technical Director
Production BookIII. Tech Week II. Rehearsal Process IV. Performances
Appendix A A Comparison of the Different Duties of Assistant Directors and Stage Managers Appendix B A Compilation of Scheduling Elements
which must be accounted for in most stage productionsAppendix C Sample Rehearsal Schedule Appendix D Guidelines for Hal Todd Theatre Productions and General Use
I. PRE-PRODUCTION
THE FIRST DIRECTOR'S MEETING
After accepting assignment as Stage Manager read the play before meeting with the director. Then, make an appointment with the director for initial planning of the production and discussion of exactly what the director expects of the Stage Manager. Review the following list of questions and take them to the meeting. Take good notes.
1. Questions to Ask the Director at the First Meeting (distilled from Kelly's Backstage Guide for Stage Management with additions by the SJSU Fellowship)
How will the director differentiate between you and the assistant director? Use the AD and SM Duties guidelines in Appendix A to establish the responsibilities for each job. Directors use ADs differently. Your job in this meeting is to make sure everyone agrees on who is responsible for what.
At the beginning of the rehearsal process, how long will actors remain at table reading and discussing?
How soon does the director expect to start blocking?
Does the director want you to call places and formally begin each rehearsal and scene, or would he/she prefer to ease from informal small-talk into the rehearsal work without abruptly shifting the mood?
What level of rehearsal props/ furniture does the director expect and at what point?
Does the director want strict blocking kept from the outset or will there be a period of improvisation?
How does the director want breaks called, five minutes in an hour, or ten minutes every hour and a half?
Does the director wish you to call a reminder ten or fifteen minutes before a scheduled break?
What policy would the director like to establish regarding visitors at rehearsals?
How would the director like to structure the basic rehearsal schedule and how should you break up the script--by scene, page number, act? (Your production analysis should serve as an excellent tool to devise an actors' scene breakdown, detailing the acts and scenes and which actors appear in them.)
Would the director like to establish guidelines for prompting actors with their lines?How soon does the director want actors off book? And should you correct them word-for-word or allow them to paraphrase at first if the scene is moving along?
How are rewrites to be handled, e.g., handed out and read through outside rehearsal or held to be distributed all at once by the director?
How much does the director want you to prod him/her to move on and stick to the scheduled work for the day? (This is a delicate and very important point that should be agreed upon in advance, because there should be no sign of quarrel or disagreement between the director and stage manager in front of the cast.)
Establish a time when the two of you can talk privately each day so you continue working on the same wavelength while not having to discuss questions or problems during rehearsal periods.
How are the actors being registered for classes and is it your responsibility to see that this happens?
Make it clear that the director needs to send any actors with scheduling problems to you even if they have gotten permission from the director.Does the director want his/her home or other phone number on the cast contact sheet?
2. Clarify the role of the dramaturg or other special coaches or consultants. Clarify how those duties will differ from or overlap with the duties of the Assistant Director (AD). Refer again to the job descriptions in Appendix A which outline the duties of the AD.
3. Alterations to the Script. Go over and mark any known alterations or additions with the director in order to arrive at a script which is accurate enough to become the basis for a production book.
4. Production schedule. Go over the director's production schedule (which may be tentative at this point) and discuss the method to be used in arriving at a final schedule. Some directors prefer to work out the complete schedule in advance and others prefer to work out the schedule week-by-week. It is important that the Stage Manager determine which method is preferable and issue all subsequent schedules accordingly.5. Audition Planning. Discuss the auditions and determine exactly what the director expects of the Stage Manager at auditions and in preparation for same (reservation of space for auditions, etc.).
6. Script Availability. Assure that scripts are available in the office for check-out prior to auditions.
7. Audition Notices. Post Audition notices and sign-up sheets for auditions. Assure that all appropriate items listed below are included in the notice.
Audition Notice Checklist
_____ presentation, imagination, professionalism, tonality
_____ name of play, author, director
_____ description of play, logo, slogan
_____ dates, times, place of audition
_____ complete and specific rehearsal and performance commitment
_____ what actors need to prepare for audition
_____ characters/types/descriptions (not a cast list)/gender/age
(when this is appropriate or useful)
_____ other pertinent information (nudity, adult language, special skills needed)
_____ eligibility and credit
_____ where and how to obtain scripts
_____ where signups are posted (sign-up info)
Things that are just NEVER said by Stage Managers:
It looks as though there'll be time for a third dress rehearsal.
Take your time getting back from break.
We've been ready for hours.
No, I called that cue perfectly the first time-let's move on.
The headsets are working perfectly.
The orchestra has no complaints.
The whole company is standing by whenever you want them.
That didn't take long.
No thanks, I don't drink.
WORKING WITH THE TECHNICAL DIRECTOR
After meeting with the production director, make an appointment
to meet with the technical
director for discussion of technical needs in the planning period.
Review the following list
of items to be addressed during this meeting. Take good notes.
1. Script analysis. Analyze the script for technical elements (scenery, props, costumes, lights, sounds, special effects and other unusual requirements). Read the script several times. The first reading is for pure enjoyment. The second reading is to focus on one aspect of the technical elements (lights, sound or props) and a technical element list is developed. A third, fourth and fifth reading is done, focusing in on one technical element at a time. Some stage managers suggest that the second reading is when they begin developing a master list which contains all of the technical elements. Still other stage managers admit that they begin developing their technical elements list during their first reading. The following is a sample of a technical element master list:
Sample Technical Element Master List
Light Sound Props Fly Description Time or Page1 Curtain warmer 6:30
1 Pre show music 6:35
2 House to 1/2 7:05
3 House Out 7:06
1 Fly main curtain out 7:06
2 Music fades Out 7:06
4 Scene 1 Lights 13
1 Kingly sword 14
5 Lovers Special 17
6 Scene 2 Lights 18
7 Fade to black 20
3 Interlude 20From this master list, you will develop separate lists for each technical element. The prop
list would follow this format:Prop List
Prop # Description Character Page#
1 Kingly sword Theseus 14
2 Kingly cup Theseus 15
3 Baseball cap George 15The sound list would look like this:
Sound List
Sound Description Time or Page#
1 Pre show music 6:35
2 Music fades Out 7:062. Develop Technical Schedule. Obtain a copy of the master production schedule for the semester or season and note how it will affect the production planning.
a. Determine when floor plan will be finalized for spiking and use by director for blocking.
b. Determine the on-stage schedule for lights, scenery, actors.
c. Obtain or establish a copy of the crew schedule for the production and discuss lines of departmental responsibility, i.e. lights, sound, properties, etc.
d. See Appendix B for required scheduling elements
3. Set Production Meetings. Obtain or establish the dates/time locations of all production meetings and arrange to attend the same.
a. Pre-style Meeting (discussion of concept and approach to the play)
b. Style Meetings (presentation of scenic and costume design renderings and plans and specific discussion of lighting, special effects, sound, property, makeup, scene shift, and other requirements)
c. Production Meetings (one or more meetings to coordinate ongoing development of technical elements.)
4. Equipment. Checkout needed equipment for stage management.
a. Stage Manager's keys
b. Flashlight
c. Panic Bar Key
d. Key/combination to prop locker
5. Space Reservations. Schedule rehearsal space for time until production moves to performance venue (usually Todd Theatre or University Theatre).
PREPARE THE PRODUCTION BOOK
The production book is also known as the "prompt book,"
the "master script," or "the
bible." Requisition a large 3-ring binder and create a table
of contents and tab dividers for
appropriate sections. Assemble the production book. These are
common divisions in
many production books:
Schedules (master schedule, actors schedule, crew schedule, as needed)
Script (action analysis to at least French scene level; blocking; cues--sometimes more than one script is used)
Concept (directors statement, designer notes, color palette)
Audition (form and notice)
Dharma (company rules, code of conduct)
Lights
Sound
Scenery (ground plan, shift plots)
Props
Costume (schedules, plots, renderings, character descriptions)
Make-up
Research
Throughout the entire rehearsal period, the production book must be followed and notation (according to the individual director's preference) made with regard to blocking, business, line changes/additions/ deletions, and all other rehearsal decisions which affect the script.
SCRIPT ACTION ANALYSIS
Read and analyze the script to the degree needed by the production and as discussed in the first meeting with the director. Some directors will want you to analyze the script in great detail, down to the level of actor beats. Most, however, consider this kind of analysis the province of the director or the actor. Find out what the director expects. Usually you will divide the script down at least to the level of French scenes. Just in case you don't know this term. A French scene is defined as "every time a major character enters or exits the stage."
Facilitate first "pre-style" or "style" or "concept" meeting. Discuss with the director his/her agenda. Make sure everyone who is needed at the meeting has been invited. Some directors conduct their own style meetings; sometimes you will conduct, calling upon each designer to present ideas, leaving room for questions and answers, making sure everyone gets a fair share of the available time. Request copies of any drawings to go into the production book. Take good notes. Be sure everyone knows when and where the next meeting will take place and what is expected at that meeting.
Assist director with auditions per initial discussion with director.
1. Prepare Audition Information Forms including all pertinent items from the list below:
Audition Information Form
_____ name of show, producing organization
_____ basic contact info--name, phone, address, SS#
_____ role preferences, limitations, acceptance
_____ pertinent acting experience (what exactly do you need to know?)
_____ pertinent skills (vocal, instrumental, dialect, acrobatic--what
exactly do you need to know?)
_____ willingness to assist production other than as an actor
_____ statement of commitment--all dates, times must be listed
_____ statement that actors have read and agreed to abide by covenants of the Department's actor dharma
_____ line for signature and date
2. Set-up. Arrive one hour ahead of starting time, arrange chairs, for actors waiting to read, arrange table for picking up audition cards, arrange table/chairs for director and provide any items which the director may request, turn on rehearsal and panic lights for adequate illumination, see that main doors are unlocked and that signs are posted which indicate the location of auditions.
3. General assistance. During the auditions, perform any jobs which the director may request (taking notes, calling names, collecting cards, reading a part, etc.).
4. Restore the room. After the audition, return the area to its normal condition, put out the "ghost-light," turn off panic and rehearsal lights, lock all doors, put up a sign indicating next audition or callback date/time/location.
5. Casting. Sometimes the director will seek your advice or help in casting; sometimes, not.
6. Callback list. Type and post (if the director requests) the callback list. Be sure to be polite and thank everyone who auditioned. Be sure to require that those called back to put their initials next to their name to indicate that they have seen the list.7. Callbacks. Assist with callback/s per 1, 2, 3.
8. Cast list. Type and post (if the director requests) the final cast list and deliver copies to all technical staff. Be sure to require that those who have been cast to put their initials next to their name to indicate that they accept the role. Be sure the time, date, for the next meeting or rehearsal location, and any other pertinent information (costume fittings, picking up scripts, enrolling in courses, etc.) is included.
A Comparison between Producers, Directors, and Stage Managers
Producer
Leaps tall buildings in a single bound
Is more powerful than a locomotive
Is faster than a speeding bullet
Walks on water
With just a little more cash and some luck, could buy the rights to GodDirector
Leaps short buildings in a single bound
Is more powerful than a switch engine
Is just as fast as a speeding bullet
Walks on water if the sea is calm
Talks with GodStage Manager
Lifts buildings and walks under them
Kicks locomotives off the track
Catches speeding bullets in teeth and eats them
Freezes water with a single glance
Is God
PREPARATION FOR THE FIRST REHEARSAL
1. Orientation. Meet with the senior members of the Stage Managers Fellowship and become familiar with the Fellowship office, equipment, tools, forms, and procedures.
2. Check in at the Main Office. In the main office (HGH 100) Obtain your copy code and allocation and your mail box from the Department secretary. Learn the Departmental procedures and deadlines for duplicating scripts or other large copy orders.3. Prepare the Master Rehearsal Schedule. Prepare and make copies of the rehearsal schedule. See Appendix B which includes the required Scheduling Elements and sample forms to assist in this critical task and Appendix C for a sample. Proof the schedule and get it approved by the director and technical director. Duplicate it in sufficient numbers for the entire production team.
4. Management Staff Meeting. Meet with the assistant director and the assistant stage manager(s) and discuss their responsibilities. Have copies of AD and SM Duties (Appendix A) duplicated and ready for distribution.
5. Contact Sheets. Prepare and copy the Actors Contact Sheets: Using the actors audition sheets, prepare a contact sheet for all the actors. The contact sheet should include: Actor's name, Character name, home phone number, work phone number. Other contact information that can be gathered: cell phone number, email address, pager and voice mail number.
6. Publicity Meeting. Meet with the Publicity Office personnel who are responsible for programs and publicity and obtain deadlines for each of their areas: actors bios, program copy and proof, publicity photo calls. Obtain the Actor Bio Forms and Discount Ticket Order Forms. One of the trickiest scheduling problems is to coordinate the publicity photo shoot between the Publicity Office and the Costume Shop. Publicity wants it as soon as possible; Costume wants it as late as possible. Each area has very valid reasons. Your job is to engineer the best possible compromise. Don't forget actor make-up, location, lights, props, and scenic support when you are trying to schedule the photo shoot. Sometimes the director wants to be very involved in the publicity photography; sometimes the director doesn't even know it happened; sometimes the Publicity Office doesn't allow director participation, saying "you do your job, and let us do ours." Stage Manager's job is to learn the ropes and keep everybody working happily and productively together. Once again, publicity photos can be a real pain in the ass; don't underestimate the difficulty in setting up a smooth publicity shoot.
7. Costume Meeting. Meet with Costume Shop personnel and determine their policy, needs, and schedule/deadlines for measurements, fittings, makeup photos, rehearsal costumes, etc. Obtain the Costume Shop Scheduling/Fitting Forms. See note above about coordinating publicity photos with Costume Shop.
8. Scripts. Prepare a script sign out form. Sign out scripts for cast from the main office (or secure them from the director) for checkout to the cast per departmental and the director's script policy. Attempt to locate all scripts not yet turned-in as these will be needed for technical areas.
9. Invitations. With approval by the director, invite the designers and publicity team to the first rehearsal. The costume designer is particularly interested in seeing the actors' bodies, hair, movement.
II. REHEARSAL PROCESS
FIRST REHEARSAL
1. Before Rehearsal. Arrive at least thirty minutes before the rehearsal call time. Bring the handouts you will distribute, the production book, and sharp pencils, scratch paper, and erasers for the director's table. Prepare the space according to the director's specific instructions and assure that the following general actions are taken:
a. Open outside building door (if it's locked) and see that panic bar is locked down so actors can enter the building.
b. Unlock rehearsal room/theatre doors.
c. Turn on rehearsal/panic lights and turn off "ghost light" (put it out of the way). Adjust rehearsal area lighting for the actual rehearsal when required by the director. This may involve turning off certain lights in the area where the director is working and/or additional lights on in the acting area.
d. See that heating and air-conditioning are comfortable (notify Facilities if they are not).
e. Set up properties and furniture for the scenes to be rehearsed, improvising with available equipment to indicate walls, doors, platforms, stairs, etc.
f. Prepare a place for the director to work with a small table and chair (if so requested).
g. Double check the floor area for any obstacles or excessive dirt which might cause injury or rehearsal delay (the person who used the area prior to the rehearsal should have swept and cleaned same but don't depend on it).
h. Check in all actors on call and begin phone calls for those who don't show by five minutes before rehearsal.
i. If it is the policy of the production director that the rehearsal is "closed", see that all individuals not connected with the rehearsal are out of the area and that "CLOSED REHEARSAL" signs are posted on all doors.2. Get off to a good start. Call the rehearsal to order promptly
and decisively on time. Unless instructed otherwise by the director or producer, take care of the necessary stage manager business. Here is one possible sequence:a. Warmly welcome every one and introduce yourself and the Assistant Stage Manager(s).
b. Remind all present that there's to be NO SMOKING and total silence when offstage. Remind all actors that they are not to leave without checking-out with either the Stage Manager or the Assistant Stage Manager and that they are responsible for their entrances, properties, etc.
c. Hand out and discuss the rehearsal schedule (See Appendix B and Appendix C for required elements and samples).
d. Hand out Costume Shop Measuring/Fitting Schedule and/or Forms. Make sure the actors understand the deadline for returning this form.
e. Hand out Actor Bio forms. Make sure the actors understand the deadline for returning this form.
f. Hand out the Contact Sheets. Make sure the actors understand the contact information is confidential.
g. Hand out Scripts and scrip return forms (if used).
h. Introduce the director, assistant director, designers, or whoever needs to be introduced. Turn the rehearsal over to the director.
3. Rehearsal. Conduct the rehearsal as agreed upon in meeting with director. Keep an eye on the clock ensuring that scheduled breaks are taken. The Stage Manager is the individual responsible for maintaining discipline and order. The responsibility is usually shared with the Assistant Stage Manager. Rehearsal time is always limited and "too short" so that maximum usage must be derived from every scheduled hour and wasted time due to actors absence or interruptions cannot be tolerated.
a. Manage any shifts of furniture, scenery, or properties required during rehearsal.
b. Keep a close watch on actors to be sure they are in place and on cue for all entrances, off-stage business, etc., and constantly remind them that this is their responsibility.c. Enforce rules regarding:
REHEARSAL SILENCE OFF-STAGE
NO SMOKING
NO FOOD OR DRINK IN THEATRE
d. Constantly remind actors to check in and out when they leave the immediate area (defined as the area within which they can hear the Stage Manager when called). This check in/out may be with the Assistant Stage Managers when one is present.
e. Remind all actors to remain in close touch with the costume department and to make all fittings on time. When this does not occur, the Stage Manager is to see that the actor DOES make it into the costume shop.
f. Make sure that no rehearsal skirts, properties, or other production properties leave the immediate area and that all are returned at the end of the rehearsal and secured in the proper storage area.
4. Safety and Security. Be aware of exactly what should be done if someone is injured during the rehearsal. Contact Campus Security for medical assistance and/or transportation to same. Be prepared at all times for such emergencies. Know the location of fire extinguishers and exits in case of related emergencies and see that the actors are aware of same. THIS RESPONSIBILITY FOLLOWS THE STAGE MANAGER FROM AUDITION TO STRIKE. THE STAGE MANAGER IS THE PERSON EXPECTED TO REACT IMMEDIATELY AND PROPERLY
WHEN UNEXPECTED CIRCUMSTANCES PREVAIL.
5. Concluding the Rehearsal. If at night, make sure no one exits alone. Make sure the rehearsal space is restored to a tidy condition.
a. Clear rehearsal area of all furniture, scenery, and properties and store these in their offstage positions (lock up when possible).
b. Sweep the stage and auditorium areas which have been used and/or pick up all trash.
c. Lock all doors which connect into the rehearsal area.
aa. University Theatre--2 front lobby doors; south side door; technical office door; upstage L. & R. doors; doors into shop from hall and tunnel.
bb. Studio Theatre--2 rear doors; 2 side hall doors;
d. Turn off all lights (rehearsal and panic/work) and place the "ghost light" out in its place and turn on same.
e. Double-check lock on doors to make sure someone has not gone through after same were locked
.
f. Lower fire-curtain (University Theatre).g. Lock any exterior doors which were originally opened by the Stage Manager (Mon. - Fri. the janitors will be responsible for exterior door security, but on weekends and holidays the Stage Manager must assume this duty).
h. Meet with the director and go over any notes which he/she has. Discuss what has been accomplished and what lies ahead for the next rehearsal.
i. Meet with any Assistant Stage Manager/s and discuss progress/problems
j. Double-check call board to be sure that the next call and/or master rehearsal schedule are posted and correct. (Both tend to disappear at times!)
6. Prepare the Master Contact Sheet. After the first rehearsal prepare the Master Production Contact Sheet and distribute to production and design staff. Include the contact information for all of the actors and add the contact information of the production staff.
7. Rehearsal Reports. All technical cues shall be inserted in the production book as
they are indicated by the director and/or designers. A complete set of notes regarding the effect of rehearsal decisions on all technical areas is to be taken by the Stage Manager and is to be distributed to all affected departments as soon as possible after rehearsal.8. Summary. See the handy procedures guide for using the Todd Theatre in Appendix D
Attend Production meeting. Request copies of all floor plans, sound plots, property lists, etc., for inclusion in production book and comparison with initial notes. Take good notes on meeting. The list will later become incorporated into the production crew sign-in sheet.
1. Spiking the Ground Plan. Arrange a meeting with the Assistant Stage Manager, the scenery crewhead, and the scenic designer for the purpose of laying out the ground plan in the rehearsal area. (Note that if the production uses more than one major rehearsal area, the ground plan will have to be laid out in each and will have to be removed at the conclusion of the rehearsal period.) The procedure is as follows:
a. Put scale ground plan down on a drafting table and, using scale ruler, a T- square, a right triangle, and a pencil, determine the exact location of all points necessary to laying out the plan from centerline and on the proscenium line. Mark in all such measurements in feet and inches.
b. Using the ground plan from a., layout all points on the rehearsal/stage floor. A chalk-line, 50' tape, large square, chalk, and masking tape are needed for the layout.
c. Snap (with the chalk-line) a line from SR to SL between the US edges of the proscenium arch. Measure all US and DS points from this line. Snap a center line from the DS edge of the orchestra lift to the far US wall. Measure all US and DS points from this line. Snap a center line from the DS edge of the orchestra lift to the far US wall. Measure all SR and SL points from this line.
d. All portions of the set which are important to the action of the play must be laid out and identified for rehearsal purposes (determine these with the designer).
2. The Blocking Ground plan. Simplify and reduce the ground plan for the director to use in blocking the actors. This mini-Ground plan should be small enough to comfortably fit twice on a vertical 8 1/2î by 11î sheet of paper, one copy occupying the top half of the piece of paper and one copy occupying the bottom half. See Appendix D for sample. When approved by the director, duplicate enough of these double-decker mini-plans to accompany each page of text in the script. Then duplicate even more, because the director will use up these goodies in a hurry--and so will you as you scramble to record complicated blocking. Of course, for multiple set shows you will need different double-decker plans for each scene change.
REHEARSAL PROPS AND FINAL PROPS
1. Rehearsal Prop Assembly. Arrange a meeting with the clerk in charge of the property room, the property crewhead, the scenic designer (if appropriate), and any Assistant Stage Managers for the purpose of checking out rehearsal properties which will be utilized in all rehearsals until the final items are ready. Items to be pulled are as follows:
a. Hand props (use substitutes rather than nothing)
b. Furniture (again, substitute where required but avoid substitutes which won't work, i.e. folding chairs)
c. Set dressing which becomes part of the business of the play.
2. Storage. Store all small items in the prop locker in the rehearsal area and stack furniture in a corner of the area when it's not in use. Any valuable items which are required for rehearsals must be locked up in a secure area.
PRE SHOW SET-UP
Call 5:00 pm for 7:00 pm show
1. Unlock back stage door.
2. Turn on stage works, rehearsal lights and turn off Ghost Light.3. Turn on basement lights (as needed).
4. Turn off sump pumps (as needed).
5. Open Light Booth, SM Booth and unlock Light Room.
6. Unlock Tech Office, turn on lights.
7. Turn on Shop Lights.
a. Leave on the Paint Room lights.b. Stair Well lights.
c. Shop Foreman's Hall light.
8. Turn off Compressor (as needed).
9. Finish all of the above before one hour call (6:00 pm for a 7:00 pm show)
10. Instruct and Supervise Stage Crews
a. Sweep Shop nearest to stage area
b. Move light racks, cherry picker, scaffolding, and prop table to Scene Shopc. Raise Orchestra Lift to level with stage floor
d. Sweep Stage Area
Sweep Orchestra Lift
Sweep Dance Floor
Sweep Off Stage Areas
e. Dry Mop Stage Area (PUT AWAY MOP AND BUCKET AFTER)f. Bring in legs and weight
g. Bring in Cyclorama
h. Pin Rail Lights on
i. Double check height of fire curtain, and all bordersj. Check pre show gels for light trees
k. Unlock USL door to hall
l. Test intercoms
m. Shut Shop door for Matinees--or as required
n. Take gloves and flash Light to stage left
o. Report to ASM that you are ready--before 6:30
11. Call "Places" usually at 10 minutes before curtain
1. Work lights on
2. Move prop tables3. Move Cherry Picker & Scaffolding to stage
4. Pin Rail Lights off
5. Ghost light brought on stage and lit
6. Take gloves and flash light back to S.M. desk stage right
7. Lights out in shop and lock office
8. Lock USL hall door.
9. Check Shop
1. One week in advance of the first crew run through of the production, check with the director and the technical director in order to determine a final or revised rehearsal/performance schedule from that point on. If there are any changes from the original schedule, prepare and distribute to ALL cast, crew, and technical
staff a copy of the revised schedule. After receiving approval from the director, advise any departments which need to begin work before the crew run through as to when they may attend and participate in) rehearsals. Certain departments may need to begin direct work with the production in advance of the first crew run through. They include the following departments:a. Scenery--in order to allow actors to work with final units
b. Properties--in order to replace rehearsal props with final props
c. Sound--in order to work in the final sound cues
d. Lighting--in order to "write" the cues. As the light and sound cues are determined, the stage manager should copy same into his/her production book.
2. Meet with all departments heads and designers no later than one day before the crew run through in order to discuss the procedure from that point on and for the purpose of discussing any problem areas. By this meeting, all department heads will have been in touch with and/or working with all of their crew members, so a final check can be made regarding names/addresses/phone numbers. Remind the department heads that it is their responsibility to see that all crew members are at all scheduled calls ON TIME and that applies to the crew run through (CRT) as well.
3. Post on the technical call board an announcement of crew run through no later than two days before same and include with it a reminder that all must sign in and verify their phone numbers at the crew run through.
4. The rehearsal before the crew run through, remind actors that there will be a complete run through which is essentially a performance for the crews.
CREW RUN THROUGH
Crew run throughs are usually held two days before the first technical
rehearsal and are
normally in the same theatre as will be used for performances.
The procedure for same
follows
1. Post sign-in sheet for technicians on technical call board with space for phone numbers) and a similar sign-in sheet for actors on the main call board. From this point on the actors and technicians are responsible for signing in their own attendance (with check on same by the Stage Manager or Assistant Stage Manager/s).
2. All items under preparation, conduct, and concluding rehearsals apply to Crew Run Through
3. Normal crew work will at this rehearsal be performed by the Stage Manager/s and the technical staff.
4. Start the crew run through by asking all crew to take their seats in the auditorium.
5. The technical director will then introduce the technical staff and department heads to all crew members and actors so all will understand lines of responsibility.
6. Before starting the run through, remind all crew members to remain after the conclusion for possible departmental meetings.
7. Advise director that run through may proceed, take a ten minute break at the intermissions, see that all goes as it would at a performance without unnecessary stops or interruptions.
8. After the run through, call the crews back together and go over the basic rules of the house:
a. REHEARSAL SILENCE OFFSTAGE
b. NO SMOKING
c. NO FOOD OR DRINK IN THEATRE
d. LOCATION OF FIRE EXTINGUISHERS AND EMERGENCY EXITS/FIRST AID
e. NO ABSENCE FROM THE STAGE WITHOUT APPROVAL OF DEPARTMENT HEAD
f. POLICY REGARDING ABSENCE FROM CALLS AND NEED FOR PUNCTUALITY
g. NO UNAUTHORIZED VISITORS
9. Run through any basic production notes which apply to all crews, then excuse all for individual meetings where required.
10. Policy regarding end of call (any call).
a. Stage Manager consults with technical director and director to ascertain if call is complete.
b. If call is complete, Stage Manager advises department
heads to "close up" and dismiss their crews.c. Crew members shall not leave until dismissed by their
heads.11. Follow standard lockup and security procedures.
Cue to cue light and sound rehearsals (if conducted) are usually
held two days before the
first full technical rehearsal (Thursday and Friday if the first
Technical is on Monday). The
procedure for technical rehearsal follows:
1. Determine by consulting both the director and the technical director whether the rehearsal will be "cue-to-cue" (omitting acting portions of the play without cues) or straight through (with stops for places that need work). Advise all department heads of the method to be used.
2. Crew members shall sign in and report immediately to their department heads for instructions. Circulate among all departments to make sure no problems exist.
3. Note that costume and makeup departments are not usually present at the technical rehearsal.
4. Assemble all crews and heads and go over method of presetting and beginning the production, assign duties where not already covered by department head instructions, call for the preset for Act I, practice same if there are difficulties,
and, finally, ready the stage for starting the rehearsal.5. Call the cast on stage and when necessary explain the set to them (this is necessary because in the scenic construction schedule many important scenic units and items are not ready until the technical rehearsal and thus may be new to the actors).
6. Make a final check of the stage (in person) to determine if all is ready and call places for Act I.
7. Begin the rehearsal and call technical cues per the instructions from the individual designers and/or technical director (normally the sound and lighting designers will submit their cues before this rehearsal and only timing remains to be worked out; pinrail and scene shifting cues are to be worked out and entered as part of the technical rehearsal).
8. Be prepared to stop the entire rehearsal at any moment and go back when required. Announce these stops so as to be heard by all on stage and clearly indicate, by line, exactly where the action is to pick up (per instructions from the designers or technical director).
9. The Stage Manager's attention must be working out the operation of the production from a technical point of view. It is imperative that other matters such as getting actors on stage for entrances, prompting, solving minor backstage dilemmas, etc., be assumed by the Assistant Stage Managers.
10. When a very complex or difficult cue or scene shift is to be attempted for the first time, it must be "walked through" in full light and carefully explained before the initial attempt. All assignments for completion of same must be noted by the department heads and turned in to the Stage Manager.
11. When a cue or scene shift does not go correctly, IT MUST BE DONE AGAIN (and again, and again, and again......) until it is worked out. That is what a technical rehearsal is for!12. After the technical rehearsal, consult the director and technical director for notes and distribute same at that time.
13. Follow standard dismissal and lockup procedures AFTER all departments are secured and cleanup has been checked.
14. All items under preparation, conduct, and concluding rehearsals continue to apply to this and all subsequent rehearsals.
The dress rehearsal are normally held on the four days preceding
the opening performance,
and the procedure for same follows:
1. Check out valuable locker key from technical director
2. Check first-aid supplies at the Stage Manager's desk (it is the scene shop technician's responsibility to see that a constant stock is maintained).
3. Verify with the director and the staff member in charge of makeup design as to exactly which dress rehearsals will be with makeup. Notify actors and put crew on call accordingly (many times the first dress rehearsal is without makeup).4. Verify with the director and the costume designer as to whether or not there will be a costume parade and arrange for same when required.
5. See that all actors are familiar with procedures for obtaining costumes (checkout), their personal responsibly for providing makeup, and post/distribute detailed call sheets which specify time for makeup call, costume checkout, dressing, and beginning the dress rehearsal. This will also apply to actual performances with minor time changes.
6. Beginning with the first dress rehearsal and continuing through the final performance of the production, complete the Stage Manager's Report Form for each dress rehearsal/performance of the production, complete the Stage Manager's Report Form for each dress rehearsal/performance. It serves as a checklist for important regular duties and later becomes part of the production book.
7. Have Assistant Stage Manager/s check attendance of all technicians and actors. Anyone not present by five minutes after the call must be called or gone after. By ten minutes after the call time, the Stage manager must know the status of all individuals.8. All crew members shall report to their department heads upon arriving and begin preset work. The Stage Manager must verify that all is going as required and give the 30 min. call to actors (when same is due).
9. The Stage Manager must be aware of progress on stage and in the dressing rooms so as to know where and if there are probable delays. All calls should be given on schedule and the proper technical staff notified if any delay seems inevitable.10. As each department completes its pre-production work, the head shall check in with the Stage Manager.
11. When there is no curtain, the stage preset for all departments shall be ready by 30 min. before curtain time. When there is a curtain, the same shall apply, however, minor work will still be possible backstage.
12. After checking to see that all is ready from the technical end, announce the director's pre-production meeting (when there's to be one) in the green room. The meeting is usually at 10 or 15 min. before curtain.
13. See that all valuables are collected and secured.14. Call 5 minute warning; have Assistant Stage Managers see that all crews are in place (check in with all stations on the cue system).
15. Call places, begin the rehearsal as worked out in the technical rehearsal, follow through without stops (unless requested by the director or technical director); attempt to maintain performance conditions.
16. Limit all intermissions and scene changes to regular time allowed for same.
17. After the dress rehearsal, pickup notes for crews from director and technical director and distribute. An Assistant Stage Manager should be in the director's note session until the Stage Manager has distributed notes to the crews (including Stage Manager notes).
18. As soon as possible, go to the director's note session, take all notes affecting technical areas which have not already been given and make a checklist of important problems which must be solved by the next rehearsal along with notes on "running problems".
19. Assistant Stage Manger/s should attend to cleanup and dismissal (after approval by the Stage Manger) and the Stage Manager should take care of lockup after note session.
20. Make sure that all valuables are returned and that no costume or prop items are left after the note session.
21. Before the final dress rehearsal, determine when the Photo Call session is to be scheduled and announce same to all crews and actors.
22. If any dress rehearsal is to have an invited audience, announce same to all crews and actors AND follow standard performance conditions.
Anytime there is an audience for the production, performance
conditions are to prevail and
certain changes from dress rehearsal policy must be noted.
1. No cast or crew members are to be in the auditorium and technical staff are to be kept at a minimum (the technical staff will have to remain in the house through the last dress rehearsal but will not be present other than as audience, during regular paid performances).
2. Check to see that the front of house is open and that lights are on (the regular house manager will supervise same during paid performances but in case of invited dress rehearsal audiences the Stage Manager should assign the Assistant Stage Manager to "open up").
3. All technical equipment and materials must be removed from the auditorium area and the appearance must be clean.
4. Curtain time is a fixed time and not subject to change due to actors or crews not being prepared. The only valid reason for delay of a curtain is failure of the
audience to be in their seats (a decision usually made by the house manager with the consent of the director).
5. The "Show must go on", there are to be no stops regardless of errors or problems.6. Call times for performances are usually one hour before curtain for technical crews (unless more time is needed for preparation of all areas by half-hour before curtain)
and the same for actors (unless more time is required for makeup preparation). Call times may not be identical for all involved with the production and thus should be
posted by departments when they differ. The Stage Manager should verify all times with the technical staff responsible and should constantly double-check same for
possible changes.7. Crew members and actors must sign in and go immediately to their assigned areas and prepare for the production; complete check-out for missing individuals must be completed, all prep work must proceed on schedule and must be constantly checked by the Stage Manager or the Assistant Stage Managers.
8. Verify all presets with scenery, sound, property, lighting, and Costume departments and make a final check of the stage before calling 30 minute call and notifying the house manager that the house may open. AFTER THE HOUSE
OPENS . . . . . . . . QUIET MUST PREVAIL!!!!!
9. Follow checkouts on Stage Manager Report form and issue all calls accordingly.
10. Verify with the director if there is to be a cast meeting and the technical director whether there is to be a crew meeting (both usually held at 10-15 min. before curtain) and announce any such meetings.11. See that all valuables are collected and secured.
12. Make a final stage check (in person), check in with all crews on cue system, make a contact with the house manager to determine audience conditions and probable holds, etc. (remind the house manager that the standard procedures for giving the start message to the Stage Manager)13. Give 5 minute call.
14. Call places AFTER verification that all personnel are ready. The fact that all individuals are in places must be verified by either the Stage Manager or the Assistant Stage Manager.
15. When signal from house manager is received, start the play. From this point on, it's the Stage Manager's show and all decisions must come from him/her with NO other "chiefs" giving instructions which countermand the Stage Manager's directions.
16. Take all scheduled intermissions breaks AS REHEARSED and see that anytime the house lights are dimmed up for the audience to move about standard intermission procedure is followed.
a. After breaking for the intermission, notify the cast to "take 10" and prepare for the next act.
b. Give identical notification to the crews and see that intermission changes are completed.
c. Warn all cast and crew at 5 minutes, 3 minutes, and then call places.
d. Again, the house manager will signal to the Stage Manager when the audience is in and ready to start; start the next act.17. Repeat 16. on subsequent intermissions.
18. At the conclusion of the performance, take the curtain call (if there is one) as scheduled and for as many bows as the Stage Manager feels are demanded by audience reaction (DO NOT FORCE THEM) . Cast members should be advised to remain in place for additional calls until the Stage Manager personally tells them that the call is over.
19. After the curtain call, see that all departments go into storage/shut-down procedures and that as same is completed all departments secure their individual areas.
20. See that the Stage Manager's Report Form is completed and filed in the production book. Advise the director of running time and of any problems with actors (he/she will also have notes for the Stage Manger). Advise the technical director or other concerned technical staff of technical problems (again, notes may be forthcoming).21. See that all valuables are returned and advise all actors and crew members of the next call--remind them about the photo call.
22. Conduct any authorized backstage tours by delegating same to either the Assistant Stage Managers or department heads when possible (this will free the Stage Manager to complete usual closing procedures). NO TOURS OR CLOSING PROCEDURES (which the audience will see or hear) CAN BE STARTED UNTIL THE "HOUSE CLEAR" SIGNAL IS RECEIVED FROM THE HOUSE MANAGER.
23. When there is a photography call, follow the steps described in the next section after curtain call and before dismissing company.
1. Post the director's pre-determined schedule for the actors and distribute to concerned technical departments no later than the beginning of the performance or rehearsal call when same is to be held.
2. Usually photo calls will be conducted in reverse order to avoid unnecessary costume changes and to return the stage to the Act I preset upon completion of the Photo Call.
3. The call should start as soon as the house manager signals that the house is clear (no sooner).4. Keep the call moving--no one likes them and no one likes to stand around after a performance or rehearsal.
5. Standard procedure--set the shot, photographers check lighting and composition, call action on specific line, all hold, shot, additional takes; if necessary, announce next shot.
6. After all photographs, go into dismissal steps
1. When the director wishes to have a "pick-up" rehearsal (which is normally the case when two or three days elapse within a performance period without a
performance), notify all cast and crew of same no later than the second performance by posting a notice of same on all call boards. The notice on the technical board should specify which crews, if any, are required to attend the pickup rehearsal-- usually, ONLY the Stage Manager, the Assistant Stage Manager/s, property head, sound technician, and (if there are any scene changes) the scenery head will represent the technical areas at the pickup.2. Pickup will amount to a non-dress, dress rehearsal and will run without stops.
3. Notes and discussion of acting problems will follow the rehearsal.4. Certain directors will not require a pickup, others will treat it strictly as a line or "problem-scenic" rehearsal, and in some cases, there may be a need for a follow-up dress rehearsal (if there are any serious problems).
1. Obtain from the Technical Director, by closing night, a copy of the strike plan. Study same carefully and distribute to all crew members and department heads.
2. After the final performance, the Stage Manager or Assistant Stage Manager/s should do the following:
a. Collect all scripts/scores from cast and crew and
immediately determine which, if any, are missing and take steps to secure same.b. Return all valuables.
c. See that costume and prop items which were actor-provided are returned (along with any other items from cast).
d. Assist with strike by supervising/working in those areas indicated on strike list.
3. Generally, the Stage Manager should be in charge of personnel at strike and should keep people assigned to various projects and reassign them when same are complete. The Stage Manager should remain throughout the entire strike and attempt to see that the strike plan is followed, questions are referred to the technical director, people are kept busy, and work progresses without problems.
4. After the strike is concluded, see that attendance of the crew required to stay for same is taken and then after checking with the technical director, dismiss the crew.
5. Turn in the following items to the technical director:a. Theatre, valuables, and panic keys
b. Prop locker key (if one was issued)c. Spare report forms, etc.
6. Complete recovery of all scripts on checkout and return same to main office (if on rental). Verify the policy of the director regarding whether or not certain cast scripts are exempt from return.
7. Prepare and submit to the technical director a report on the production titled "PRODUCTION BOOK--name of play" which is to include:
a. Complete script with ALL changes included and blocking, cues, business, etc. noted per standard form.
b. The program and (when possible) reviews from the production.
c. The sign-in sheets for cast and crew from technical crew run-through - final performance.
d. ALL completed Stage manager Report Forms.
e. Complete prop, set dressing, furniture plots with all changes indicated.
f. Pinrail line schedule.
g. Complete scenic shift plot/s.
h. Ground plan/s to scale.
i. Sound cue plot.
j. Rehearsal schedule/s.k. Strike plan.
l. Any other printed materials concerned with the production.
8. Turn in evaluations for any crew or Assistant Stage Managers who are to be evaluated to the Technical Director.
9. Party
| Appendix A | A Comparison of the Different Duties of Assistant Directors and Stage Managers |
| Appendix B | A Compilation of Scheduling Elements which must be accounted for in most stage productions |
| Appendix C | SAMPLE REHEARSAL SCHEDULE |
| Appendix D | GUIDELINES FOR HAL TODD THEATRE PRODUCTIONS AND GENERAL USE |
