Are there any duties they want to do themselves? Some directors like to take things into their own hands. How do they want rehearsals run? Do they have any specific guidelines you should be aware of? And be sure to establish a routine where you two or three can check-in with each other post-rehearsal.
Contact sheet Rehearsal schedule Email lists Conflict calendar Production calendar Daily Reports Properties List (keep updated) Set Design communicated to all staff (keep updated) Furniture and Set Decoration list (keep updated) Costume plot (keep updated) Set dates for production meetings. And this is just the paperwork prior to the run. . .
Take a thorough walk around the theatre, familiarizing yourself with everything from emergency exits to the most convenient trash can. This theatre will be home for the next few months – the quicker you get to know it, the easier your job will be.
Band-aids Batteries Chalk Erasers Paper clips Pens Ruler Safety pins Scissors Small sewing kit Stopwatch Tampons
You don’t have to do it just like this, but you should have something similar. Having a book that has everything you need will keep you sane. Include post-it notes or other markers to make everything easily accessible. Blocking sheet templates can be found online. You should have a template for everything, really.
Generate a scene breakdown Make a prop plot Know all costume needs Be sure to have this done before or during “prep week” – the week before rehearsals start.
Your ASM (assistant stage manager) will be your right hand. When you can’t be in two places at once, they’ll be getting the job done. You’ll also need crew for lights, sound, props, and working backstage. The size of your production will determine how many people you need.
It’s imperative that you have a good system of shorthand down pat. And it should be legible if, God forbid, you ever get sick. So besides the standard USL, DSR system, get something consistent down for blocking and choreography patterns and all cues. That way you won’t be scrambling 32 counts behind.
You’re calling breaks, too, and making sure one person with authority doesn’t hog all the rehearsal time. Basically you keep things ticking. You’re the time and the timekeeper.
“On book” means you have the script in front of you. Everyone else may be “off book,” but you’re the one ready with the script because just because everyone is off book doesn’t mean they should be. And for the record, actors drop lines all the time.
Make sure to spike the upstage side of every piece. You don’t want tape chillin’ in front of every piece you have onstage. The audience might notice that.
However, it’s not your place to offer artistic vision. The only time your opinions should come into play is when the director (or someone similar) asks. You’re logistics here, letting them what will work and what won’t – not what vision you think the director should have.
An easy job to delegate is to make sure the rehearsal space is safe. Sweep (and mop, if necessary) the stage before rehearsal and make sure all is kosher afterward, too. Especially if you’re renting the space! Reset the stage between each scene. Each night there will probably be several scenes that are being rehearsed; it’ll be quickest if you or someone on your crew resets the stage instead of watching the actors fumble with things they shouldn’t be fumbling with. Be hands on and ready to pitch in on everything. There is no such thing as “not my job” or a job that’s beneath you. This shows that you are not afraid to do a little grunt work and might ensure your job.
If there are injuries or one of your actors end up in the ER, you have to hold replacement rehearsals to put in a replacement. This will mess up your schedule, but you’ll make do.
Sometimes certain departments will be absent. You are the eyes and ears of the rehearsal hall and your job is communicating clearly and effectively to all of the production departments what is happening in the rehearsal hall and what the director wants. You never want anything to be a surprise come tech week. All departments should know what is happening and what affects them. There will be a company meeting at the beginning of tech week that you’ll be running. That’s when you field any last minute questions or concerns, talk about ticketing, emergencies, etc. Run over the procedures and policies of the theatre and let each department add final notes if they’d like.
Your run sheet is a sheet describing what the crew has to do. Keep it as simple as possible yet still discernible by anyone who walks onto the job never having seen the show before. Basically, you write the cues, what pieces move and where. That’s it. You’re calling the cues for sound, light, fly, motor, and stage, so you’ll need a calling script for yourself.
You’ll also probably be letting everyone know when the stage is open and closed (for things like flying and whatnot), when physical and vocal warm ups are, etc. Basically when anything happens, you alert the masses.
You will say “warning” and the cue number and whom it affects (“warning on deck cue 16,” for example). The affected person should then say “Thank you, warning. " After a warning, you will say “standby,” as in “standby deck cue 16. " The affected person should then say, “stage left,” or “lights” or whatever their department is. When a standby is called, there is no more talking. When it is time for the cue, you call “GO. " There is no response to this. You are the only one allowed to call the final go. Headset banter is a natural part of working backstage. It’s a great part. Just know when it’s appropriate and when it’s not.
Co-ordinate with the front of house manager of when to open the house (generally half an hour before) and when to start the show. Do you hold the show by 5 minutes because the line at the box office is huge? Patrons can’t find parking? Is it raining? They’ll let you know if anything out of the ordinary is happening out front – it’s just as important as what’s happening in the back!
While, yes, a good SM can locate a screwdriver in seconds and get to working on a breaking set piece, they can also coordinate with directors and actors – two very different types of people – and predict their problems. A good SM has multiple types of intelligence, quite obviously.
Establish control from the very first audition. Though a stage manager should not be feared, they should be respected. No need to scare people into listening to you, but don’t be afraid to be firm when you need to be. Expect respect from the beginning of the process and respect the ones around you as well.
Even if you disagree, it’s still your job. Does the director want the scene lit so dim that you can barely see the actors? Well. . . okay. Sure. That’s how it’s going to work for the rest of the run – even when the director doesn’t show up.
Let’s say it one more time for good measure: stay calm. Yeah, you have a billion things on your plate. You do. You won’t get the admiration and praise you deserve. You won’t get people marveling at your skills. But when something goes wrong, they’ll still look to you. Take a breath, take a step back, and deal. You got this. At rehearsals, always set the tone for a calm and professional atmosphere. Play quiet music, keep loud talk to a minimum and, if possible, work to give the director a few moments alone to gather his thoughts when he walks into the theater. If you begin with a calm atmosphere, you won’t have to ask for quiet.
And, not to mention, people not getting along and certain people being undependable. Who’s good with a saw and who’s better at untangling pom poms? Who can’t pay attention for five minutes straight and who would you trust with your car? Things like that. In the event of an emergency or fire alarm you are responsible for the cast and crew and their safety. Review the theatre’s policies when it comes to feasible emergency situations.
It’s hell week that’s going to need the most positivity from you. You have directors wondering if their show is going to come together and actors that are wondering if they’re going to make fools out of themselves or not. Know that and cheer them on. So walk into the theatre with a smile and have a good attitude, regardless of what you actually think!
Everyone in the theatre generally has a preconception of how things should work. They all think something a little different. Since there’s no use in accommodating them all, do what feels right to you. Take their suggestions if they’re better and ignore them if they’re not. But to find what feels right to you, you’ll need to mess up. That’s good! Just remember to pick right back up where you left off. The show depends on it!
