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.
During the rehearsal phase, the SM facilitates rehearsals, taking notes of what goes on during rehearsals, of blocking, costume, prop, sound notes, etc. The SM is in charge of maintaining 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). 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, it is your job to hunt them down like dogs. Overall, you 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.
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.
CHECKLIST
Pre-production:
Check SM kit (see below)
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.
Rehearsal period:
Send out a reminder notice daily
Arrive early to rehearsal. Set up the room as needed. If it's locked, call CAC to get it unlocked. Tape down the set lines (once we have a set), and set rehearsal props/costumes. For table reads, make sure you have enough chairs and tables.
Call any actors who are more than 5 min late. Leave messages even if they aren't there (guilt trips).
Help run rehearsals.
Take down blocking in SM script copy. Always take down in pencil as everything has a tendency to change.
Note any prod staff notes (i.e., Jane needs a walking stick)
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
Production week:
The show now belongs to you. Oh, the power =)
(these checklists are everything that needs to happen. Delegate to your ASMs!)
SUNDAY: dry tech/Q2Q
Dry tech:
Get all cue numbers/names from designers
Mark down all cue placement in SM book
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
Q2Q:
Meet with everyone, go over terminology and schedule
Give actors time to explore stage/set
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)
Be forceful with your "go/hold/restore"s.
When in doubt, run it again.
Call CAC (3-1391 or 3-1500) to close the space. You must be sure it's secure before you leave! You are responsible!
MONDAY: Tech 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
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
PROD WEEK NOTES/TIPS:
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.
Sunday 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)
The morning is usually for dry tech, which is where the director, the SM, the LD and the SD 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.
The afternoon is when the actors show up. 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).
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.
SM Kit: This is a suggested kit list:
Spike tape
Gaff tape
Stop watch/timer
Pens/pencils GALORE (actors steal them)
Maglight
Leatherman
Tape measure (carpentry)
Tape measure (costume)
Highlighters
Hole punch
Glue stick
Stapler
Paper clips
Scissors
First aid stuff:
Bandaids
Aspirin/Tylenol/advil
Cough drops
Vitamin C (sarah's favorite)
Whatever else you think might be useful (condoms are a perennial favorite)
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!
USING CALLBOARD
Callboard can be found at at http://mv.ezproxy.com.ezproxyberklee.flo.org/callboard but the old address (http://web.mit.edu.ezproxyberklee.flo.org/ensemble/callboard) redirects to it as well.
Make sure actors have this address! Don't let them have another excuse to show up late; Callboard should be their god. With that in mind, it is up to you to make sure Callboard is always accurate and up to date.
Pages and content are pretty much the same as they have always been.
To change things, you first need to log in. There is a link for this at the very bottom. Logging in will take you to the "dashboard" but you can get back to the callboard site by clicking the "Ensemble Callboard" link at the very top of that page.
After that, content on the front page and in any of the tables on the contact info and calendar page can be edited by clicking the "Edit" links (below the tables, to the right of the "Announcements" title on the front page). In the calendar table edit view, stuff that happens on a day should go in the box below that date. (this just made styling the calendar easier) There are a few examples, so hopefully this isn't too confusing.
If anything else needs to be edited (such as putting up a link to the script on the Misc page), once you're logged in, there should be a grey bar at the top that includes an "Edit Page" link, which will take you directly to the editor for that page. There is also an "Add New" drop down menu in the same bar, which includes the option "Page", which is how you should add pages if needed. When you do that, there will be a box along the right side that will include an option for setting the page's parent. If you choose "Misc", a link will automatically be added to the Misc page that leads to the new page you create.
For Production and Rehearsal reports, starred fields are required, the others are optional. (I took the fields from the old forms). I don't know how to get rid of the "verification" thing, but I don't think it's doing any harm. Clicking "submit" will send an email to damnspot, and also post a page on the callboard with whatever's in the form. A link to the page will automatically be added to either the "production" or "rehearsal" page, as is appropriate.