JOB DESCRIPTION
The stage manager is responsible for all logistics regarding running rehearsals and performances. The position is most easily broken into two phases: rehearsal and production.
Rehearsal Phase Duties
Facilitate rehearsals
Take notes of what goes on during rehearsals (blocking, costume, prop, sound notes, etc.)
Maintain rehearsal props/costumes (i.e., bringing them to rehearsal, keeping them safe, letting props know if they run out, etc).
The SM also may be in charge of scheduling rehearsals, and finding additional rehearsal space (thru CAC). (617-253-1500)
You need not be at every rehearsal, but it is your responsibility to make sure that an ASM is at a rehearsal if you're not.
If actors are missing from a rehearsal, it is your job to hunt them down like dogs.
Overall, you act mostly as a liason between the director/designers/producer(s) and the actors. It's your job to help provide communication between the actors and everyone else to ensure that everything will be ready for prod week.
Production Phase Duties
During the production phase, the SM is in charge of all logistics, including stops, starts, breaks, etc. The SM "calls" the show, meaning they give commands to the board operators and backstage hands, and give cues to the actors. The SM is the non-artistic authority starting with production week.
Detailed Job Description
Pre-production:
Check SM kit (see child page)
Meet with producer - go over checklist & calendar.
Meet with director - discuss scheduling preferences, rehearsal preferences. These may include:
How many breaks in a rehearsal, for how long?
How would the director like to be reminded of time constraints?
How should actors be corrected (lines, blocking) if they mess up?
How should warm-ups be done? By director (or actor) at beginning of rehearsal? By each actor individually before rehearsal?
Work with the Director to create a rehearsal etiquette policy to be handed out to all actors at the first rehearsal.
Meet with Assistant SMs (ASMs) to discuss their roles and duties.
Create SM copy of script. A few example pages are included.
Auditions:
Assist director with running auditions. (the producer will also help with this)
Useful tips: -Take pictures of auditioners; it's easier for the director to remember faces
-Have people (ASMs, etc.) inside and outside the audition room communicating about which auditioners have arrived and whether they are ready to audition.
-Get the casting done as quickly as possible, and try not to have the final auditions end too late at night, so that people (especially real people, as opposed to students) are more likely to answer the call when you are trying to cast them.
-If possible, schedule the last day of auditions to end early to give you time to call people. (this should be the last day before callbacks and the day of callbacks if possible)
-Help with casting. Keep a list of people, parts, and how they match up.
-If possible, make a characters list before-hand and have an idea of how large each part is (search the play name on wolfram alpha- it's super useful!) and which parts can be combined if needed. List which characters are in which scenes. This is also a good time to decide which characters are important for the rehearsals of each scene, which will help with scheduling.
-encourage the director to take scheduling into account during auditions. Try to prevent giving main roles to people who don't have the time for them.
Read-through
Take a look at the child page (below) for things you should make sure to tell people at read through. This is an especially good time to outline your lateness policies and so on.
You are in charge of printing scripts for read-through, unless you can get the producer or actors to do it. Printing scripts takes longer than you think! Give yourself more than an hour! Have the scripts ready to be printed beforehand so you don't have to deal with formatting while trying to print everything. Use the Athena cluster on the 5th floor of the student center, 'cause it has lots of printers. Print on all the printers simultaneously (or some subset of them). Print in small batches (2 to 5 scripts) so that other people don't hate you. Keep an eye out for running out of ink or paper so that you don't waste time and trees. You'll want scripts for all the actors, the director, yourself, plus a few extras for people like lights or sound who may want them. It's a good idea to also send out a digital version of the script in case people loose theirs or would rather work off an ipad or smaller pages or something.
Rehearsal period:
Help run rehearsals.
Take down blocking in SM script copy. Always take down in pencil as everything has a tendency to change.
Keep track of props/set/costumes- note any new changes or director notes
Be on-book for actors. (when they say "line" give them their line)
After rehearsal, put things away as necessary. The SM is responsible for securing all rehearsal items and the rehearsal room.
Write a rehearsal report. An example is attached. This helps the prod staff keep updated on new items they need or constraints on items they know about.
Check in with ASMs often, especially if they are running rehearsals on their own, and/or are new to SMing.
Attend Production meetings
Setting up rehearsal:
-Arrive early to rehearsal.
-Set up the room as needed.If it's locked, call CAC to get it unlocked. (617-253-1500: ask to speak to the CAC manager on duty. Program this into your phone NOW. Do it. Go. )
-Tape down the set lines (once we have a set). Start doing this as soon as you have a set layout. It will help the actors a lot later
-Set rehearsal props/costumes.
-For table reads, make sure you have enough chairs and tables.
Making sure people are on time:
One of your tasks it to make sure actors arrive on time to rehearsals, and track them down if they don't. Some tips for making sure people arrive, and arrive on time:
-Send out a reminder e-mail daily. If you don't want to send out daily reminders, send out reminders for any rehearsal that's been changed recently, or is at an abnormal time/day. (This is also a good duty for an ASM to take over)
-Call actors who are more than 5 minutes late (or late at all, if you want). Leave messages even if they aren't there (guilt trips).
-Keep a spreadsheet of how often people have been late or their total amount of lateness. This makes for great guilt trips (especially if you send out weekly e-mails declaring who's the latest person overall, or give some other punishment). (Make sure the ASMs are using it too: google docs are great for this)
-Put actor's phone numbers in your phone. It will save time in the long run.
-If someone is chronically late, it's okay to call or text them before rehearsal starts to make sure they're on their way
-If someone is really late, send someone looking for them. A good way to start with this is to call someone you know if their dorm, and have them knock on their door. Have someone check lounges, friend's dorms, boy/girlfriend's room, the student center, and anywhere else they might be.
The Props Cart
-Use a shopping cart to carry props to rehearsals
-Make sure you know why each thing in the cart is there. If there's a prop in the cart and noone's using it, figure out who should be
-Put small items in a box so that they don't fall out of the large holes in the cart
-If you have a lot of props, make a separate box/bag with stuff that the SM needs (tape, pencils, tape measure, SM binder, etc) so you can find it all without digging through props
Line notes
-Start taking line notes a week or so after the actors go off book
-Get an ASM to come to rehearsal so one of you can take line notes while one focuses on rehearsal
-write down as many notes as you have time for
-If someone is making the same mistake over and over, tell them (in case they don't read the notes *gasp*)
-Try underlining everything that people mess up, and showing them after the rehearsal is over, so they get instant feedback as well as detailed feedback
-Send out the notes as soon after rehearsal as possible
Before Production week:
Run time jobs: Figure out what runtime jobs are needed and assign them to actors. For more info on this, look here: Technical Director
Run Crew: Get some. More details here
Ushers: Get some. At least one per night. 2 or more if seating is mildly complicated or confusing.
Production week:
The show now belongs to you. Oh, the power =)
During prod week and the run, you control everything. It is your responsibility to make sure that you get into the performance space every night, and that it's secured when you leave. Your word is law. When you decide the show will start is when it will start. You have to coordinate the actions of the cast, crew, housemanager, ushers, audience, etc. Again, you need to make sure that everyone that's supposed to be there is there. You call the show. You tell the light board-op when to hit the button. You tell the sound board-op when to hit the button. You tell the stage crew when to move the button (or table, or chair, or flat, or elephant, whatever!). If anything goes wrong, it's your call on what to do, who to call, and how to fix it, so be prepared to make split-second decisions about what should happen in case an actor takes your pre-show comment to heart, and really does break his leg.
Sit back, relax, and enjoy the show that you've seen at least a thousand times already (maybe not, but it feels like it) and watch how your audience responds to the production that you got to see take form from beginning to end. Have fun!
The SM clipboard
Admit it, a clipboard will make you feel extra cool, plus it will provide a place to put stuff without carrying around the whole SM binder now that you need to more a lot more. Some stuff to put on it:
-The nightly schedule of what happens when (call, house opening, etc.)
-All of your actor's phone numbers and room numbers (you can also use this list to keep attendance and figure out who's missing
-A list of who is your run crew/house manager/box office manager/etc. each night. And their phone numbers.
-A list of anyone who might be willing to sub for run crew/ house manager/etc. if they go missing. And their phone numbers.
-A blank sheet of paper, for taking random notes
-A pencil
-A time keeping device. (okay, I admit, it's hard to attach a clock to a clipboard. But make sure you have some kind of time keeping device with you. If it's your phone, just set it on top of your clipboard)
(these checklists are everything that needs to happen. Delegate to your ASMs!)
SUNDAY: dry tech/Q2Q
Dry tech is where the director, the SM, the Light Designer and the Sound Designer get together to finalize cue positioning and length. Each designer will name each cue, and tell you when it must be called. Then they will set its length. At this time all of the cues should be put into the SM book, which is what you'll use to call from.
Dry tech:
Get all cue numbers/names from designers
Mark down all cue placement in SM book
If at all possible, run cues without actors (it will speed up Q2Q)
The props table should have been created by the props folks. If not, create it now. (complain later)
Put glow tape on all stairs and any corners. Look for "actor traps" and glow tape/repair them.
Get run job list from officers, and post in the green room
Post sign-in sheets in green room
Post scene list (if needed/desired) in green room
If there are lots of transitions, create a chart of what happens during each transition, and who's doing what. Post it everywhere (green room, backstage)
Q2Q:
Sunday (or possibly monday) is cue-to-cue (Q2Q). This is the design staff's only* opportunity to set when cues are called, how long they are, what they look like. It is usually the first time you're in the performance space. And it's the first time with the sets and props. Actors don't like q2q, but that's okay - a good q2q will make the rest of prod week go SO SO SO much more smoothly. So use it well.
(*of course, things change during the week. But ideally as much should be done as possible on q2q so that the other rehearsals really can be runs)
Q2Q: Again each cue is run, this time with actors. The actors should be given some time to walk around the set to get used to things. During q2q, all tricky entrances/exits and all scene changes should be rehearsed until you are confident that everyone can do them well. (usually this is a no-brainer, since they usually coincide with light cues, but not always, so be sure to get them all). (Alternately, if you're run crew won't stay the same througout the run, skip set changes for Q2Q but spend 10 minutes on them at each dress rehearsal and (if needed) before each performance. Your actors may hate you, but your audience will be happier. )
Be sure that everyone understands your terminology. Standard issue is:
Ready = I’m going to call a cue soon (should require a response from the person you’re giving the ready to. i.e., SM: “ready light cue 143.” Light board op: “ready.”)
Go = start from where I told you to start from
Hold = stop exactly where you are, don't move, don't talk
Restore = go back to where we started from before
I prefer to put a subject before my "go" - i.e., "actors go". That way the light board op doesn't get confused (for example).
Remember: BE CONSISTENT. You can say “elephant” instead of "go" if you want, just as long as you’re consistent.
The big thing to remember about q2q is that it's your last real opportunity to practice the logistical side. If you want to run something again, run it again. If you're confused about something, ask, and get clarification. Your goal should be to have Monday's run be as smooth as possible.
Meet with everyone, go over terminology and schedule
Give actors time to explore stage/set
If cues have not been programmed, program each act (1-5) while actors take a break, then run that act, then program the next act.
Run each cue sequentially from the beginning.
Before running each cue, state where you'll be starting from. Be sure everyone knows (is listening, can hear) (Cultivate a good projection voice)
Be forceful with your "go/hold/restore"s.
When in doubt, run it again.
Call CAC (3-1391 or 3-1500 or 617-253-1500) to close the space. You must be sure it's secure before you leave! You are responsible!
MONDAY: Tech Dress
Call CAC (617-253-1500) 1 hr before rehearsal to open room.
Fix any notes from the day before (e.g., new glow tape)
Give everyone time to places, and do it frequently. Adjust as needed.
Make sure everything is preset
Make sure boards have control of lights/sound
Make sure sound/lights have run a check
Make sure space is secure before leaving for the night
TUESDAY: 1st Dress
Call CAC 1 hr before rehearsal to open room.
Fix any notes from the day before (e.g., new glow tape)
Give everyone time to places, and do it frequently. Adjust as needed.
Make sure everything is preset
Make sure boards have control of lights/sound
Make sure sound/lights have run a check
Make sure space is secure before leaving for the night
WEDNESDAY: final dress (performance conditions)
Call CAC 1 hr before rehearsal to open room.
Fix any notes from the day before (e.g., new glow tape)
Give everyone time to places.
Make sure everything is preset
Make sure boards have control of lights/sound
Make sure sound/lights have run a check
Make sure everything is out of the house before you open house.
Make sure space is secure before leaving for the night
Performances:
Go through your checklist
Meet with house manager (HM), go over procedure
Meet with ushers, tell them when (if) to let in late comers
Open house 30-15 min before curtain - coordinate with HM
Close house 5 min after curtain or when HM says is ok - whichever is later.
Take cash box/reservations book at intermission
Make sure space is secure before leaving for the night
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