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STAGE

MANAGEMEN
T
HANDBOOK
By Jessie Smith’06
Stage Managed by YOU!
SM HANDBOOK JBS (SM)
CFA Date — Date Page 1 of 3

PRE-PRODUCTION

Ok, so you're the stage manager. This is how you begin! (Looks overwhelming—
don't freak out. Just go down the list, one item at a time. Usually, unless you're
totally crunched for time on a '92 show, this will happen over the course of a few
weeks.)

1. Introduce yourself to Suzanne Parry. Tell her that you've just accepted the
exciting position of Stage Manager! Ask her to show you around, give you
keys, show you how to turn on and off the lights, show you around the prop
storage area, give you standard SM tips etc. Ask for SPIKE TAPE. (or if you're
doing a show in the '92, ask someone from Second Stage to show you around
and give you keys and info.)
2. Drop in to see Jack. He's your production manager.
a. Talk to him about when the first production meeting will be.
b. Get contact info for all of the designers working on the show.
3. Go into the administrative offices
a. Look at the two room reservation books (Jones Room and East Room). You'll be
using those to sign out rehearsal space—ask the administrative assistant to show you
how to do this!
b. Ask for the department account #. You'll need this for buying a few supplies.
c. Figure out the best way to make copies of the script. You will need enough for
the entire cast, the entire creative team (designers), your assistants and any
designers' assistants.
a. You will need to use the copy machine a lot. Discuss this with the
administrative assistant.
4. Go to staples and buy (First, ask the administrative assistant and Suzanne
for,): a binder (1.5', D ring is the best!), divider tabs, pens, pencils,
highlighters, a scale-ruler, a tape measure, and a black permanent marker.
5. Read the script for fun. Don't think too much about it. Enjoy it as dramatic
literature!
6. Read the script carefully, thinking only of the production: Use highlighters in
different colors to mark props, costumes and sounds.
7. Meet with your director
a. What is his/her vision of this play?
b. Are there any special elements he/she wishes to incorporate?
c. Discuss overall schedule (start date for rehearsals, hours etc.)
d. Discuss auditions
8. Create your tracking paperwork PROP PLOTS, COSTUME PLOTS and
SOUND PLOTS. (see "Paperwork")

As of 5/11/2006
SM HANDBOOK JBS (SM)
CFA Date — Date Page 2 of 3

9. Manage Auditions
a. Reserve an audition room
a. Create a simple form for auditions. This should have space for
students to fill in the following info: name, class year, extension, cell
phone, CONFLICTS, relevant experience (acting resume, dance
experience, singing, musical instruments, other strange and exciting
talents etc.)
10. Create a call board. On the department board, mark out a space for your show.
You will post the weekly schedule and any other pertinent information there.
11. After the cast list has been posted, e-mail the cast to introduce yourself.
a. Ask if there are any addition conflicts, aside from those written on the
audition forms. Gently and warmly warn them that this is the last chance
to give their conflicts or issues and that this is a big commitment.
a. Tell them how they will get information from you and how frequently—ie:
will you be e-mailing them weekly schedules on Monday?
b. Them then that all information should go through YOU and your
assistants. You need to know everything and the actors should tell YOU
first, before they go running to the director or designers (because maybe
you can solve the problem, before an actor creats chaos and
miscommunication. Communication hierarchy is key!)
b. Tell them when first rehearsal will be. And where they can get scripts.
c. Give them your contact info.
12. Create a Contact Sheet and Conflicts calendar (See "Paperwork").
13. Meet with your director again.
a. Discuss major conflicts for certain students (give the director a copy
of the conflicts calendar)
b. Talk about your first read-thru.
c. Discuss the master calendar—rehearsal schedule, days off, tech week,
performances.
13. Create a Master Calendar (see "Papaerwork")
14. Ideally, have your first production meeting before your first read-
thru. At this meeting:
a. Everyone will introduce themselves.
b. Hand out all of your paperwork to everyone who needs it (master calendar,
contact sheet, tracking paperwork).
c. Then, at the helm of the production manager, everyone will go around the room,
by department, and discuss the show and each designer's plan.

As of 5/11/2006
SM HANDBOOK JBS (SM)
CFA Date — Date Page 3 of 3

d. Talk to each designer, during this time, about what needs to be done before the
first rehearsal—ie: how much rehearsal furniture will you need? Will one of your
assistants need to pick up rehearsal costumes
and shoes? When will Measurements be taken? Can the set designer
make a smaller copy of the SET DESIGN/GROUND PLAN for you?
e. Talk to your assistants before the meeting and split up major jobs. If you have two
(which you ideally should), put one in charge of costumes and one in charge of props.
They will be responsible for setting and striking items during rehearsals and updating
the tracking paperwork. Tell the props master and costume designer that you have
made these delegations, and put them in touch during this meeting.
15. Pull rehearsal furniture and, depending on how complicated the set will be, tape
out the set on the floor of the rehearsal room. (Ask Suzanne to help you and
explain how to use the scale ruler and the tape measure to plan out the set with
spike tape!)
16. Now you are ready for your first read-thru!! Yay for you! You have survived
pre-production! Everyone should have a script. The (or a) rehearsal room should
be more or less ready to rehearse in. your book should be ready to go You should
have enough information about props, costumes and the set to begin anticipating
problems and to address logistical questions. You and your assistants should be
completely on the same page. Now you can kinda relax: Your next job will be to
sit back and manage the flow of information....

As of 5/11/2006
SM HANDBOOK JBS (SM)
CFA Date — Date Page 1 of 1

PAPERWORK

Calendars, props plots, scene breakdowns, shift plots, contact sheets, conflicts calendar
etc. – this stuff makes the show run. You (or your assistants) need to generate at least
some of it. It needs to be:

1. Easily readable (ie: someone should be able to look at your paperwork and, at a
quick glance, be able to know how many people use pocketwatches in the show, who they
are and in what scenes.)
2. Labeled and Dated (as you update your paperwork, you must know when you
made the corrections. It's very confusing otherwise. Date everything!)
3. Specific! You can NEVER be too specific. For tracking paperwork, you need to
somehow include WHAT, WHERE, WHEN, WHO and NOTES.
1. Whatever works for you. Much of the paperwork in the following pages is not
necessarily appropriate for a university show. It is provided here to give you a
general idea. A lot of this stuff is also generated on Microsoft Excel. If you don't
feel comfortable using excel, then make up something in Microsoft Word. Whatever
works for you is fine. Just rememeber—other people will need to read it and
reference it easily.

You may not need every kind of paper work I have here. What you definitely will
need:

1. Handprops/furniture/costumes tracking list/plot


2. Contact Sheet
3. Master Calendar
1. Weekly Calendars (a Scene Breakdown is extremely helpful for this. I
recommend making one—it can be much simpler than the one I have here. Just a list
of who is in what scene—so that when you're making the Weekly Calendar,
you can compare the Scene Breakdown with the Conflict Calendar...all
in
accords with the director's wishes!!)
1. (I don't have a conflict calendar here—but it's just a regular calendar with people's
conflicts inserted under every date. So that I can see, at a glance, that Josh has a
conflict between 2-3:45 on Thursday, so he'll arrive at rehearsal at 4pm.)
4. Checklists (see "Tips)

As of 5/15/2006
Hunt, oton Theatre Company
PRO1- PLOT As Of 13/2006
JBS
'02 - '03 Season
Dir. Nicholas Martin
Noises Off Page 1 of 2

PAGE HANDPROP QUAN. NOTES


CHARACTER(s)
a few sardines. Does not need to be perishable, but
14 first plate of sardines
should look real Dotty, Garry
14 telephone 1 with reciever connected to the cord Dotty, Garry
14 newspaper 1 folded in 1/2. not opened or perused onstage. Dotty, Garry
16 Garry's key 1 keyring TBD Garry
16 Garry's cardboard box 1 FILES inside box. Never taken out of box. Garry
16 Garry's flight bag 1 G's champagne bottle fits inside Garry
20 Garry's bottle of champagne 1 Garry
25 black sheets never unfolded Vicki
26 Freddie's key 1 keyring TBD Freddie
26 Freddie's cardboard box 1 GROCERIES inside box. Never taken out of box Freddie
26 Freddie's flight bag 1 F's champagne bottle fits inside Freddie
1 box, a few pills are consumable and edible. Pillbox must fit in
27
pill box and pill pills Lloyd's pocket. Lloyd
28 tools a few hammer, screwdriver etc. (SM tools to "fix" the door) Tim
36 Freddie's bottle of champagne 1 Freddie
second plate of sardines Dotty, Garry
should look the same as the first plate. A few sardines.
36
Does not need to be perishable, but should look real.
43 hot water bottle 1
43 tax demand and envelope 1 envelope is sealed, consumable (1 per night) Freddie
43 linen cupboard door key 1
45 tube of glue 1 not practical. Freddie
handkerchief w/blood (47) work with actor– pulled out of pocket, cupped in hand
47 1 over nose to "reveal" bood-- maybe only a corner of Freddie
handkerchief is bloody?
attached plate of sardines must actually be attached to him– so that when he
52 Freddie
waves
his hands, they do not come off (work with costumes?)
must be attached– so that when he waves his hands, it
52 attached tax demand Freddie
does not come off (work with costumes?)
TBD. Maybe a candle holder, picture frame, trophy,
52 a few Belinda
varoius pieces of "bric-a-brac" paperweight?
54 liquor bottle 1 liquid inside (liquid TBD) Selsdon
54 glasses a few on sideboard Selsdon
with visible plug-- socket onstage (television is Selsdon, Dotty
56 television 1
unplugged onstage)
Go-Go Kitty, GO! CONTACT SHEET
By Erin Quinn Purcell and Greg Jackson The New York International Fringe Festival (FringeNYC) A
Presented by Theatre B Production of The Present Company

Lucile Lortel Theatre: 121 Christopher Street Information / Tickets


Venue Director: Saundra Yaklin In NYC: 212. 279. 4488
Venue Website: www.lortel.org Outside NY: 1. 888. FringeNYC

Page 1 of 1
As of 2/13/2006
FringeCENTRAL is located at 520 Eighth Avenue (between 36th and 37th)
Fringe Website: www.FringeNYC.org

CAST:

Arthur Aulisi Guy in Barl /Woodman/Steve/Brit/ 1.11.1111101111111.6111.com 41•11.1111 gimmomor


and as cast 1=0
Jeremy Brisiel Patch/SSGuy/Big Dirty Cop Daddy imigNION@yahoo.com ureroor
/Billy/Lester/and as cast
Bill Cohen
Weinstein/Fuzzy Gimbal/Dookie/ ©aol.com ammirst
and as cast
1111N/11111111111@yahoo.co
Kim Ders Wanda
m
IMINNINMfit)
1111111•111=1•1111
Nicole Fonarow 111111111.1111©hotmail.com
P)
Peggy Patrick McDonald
Dick Kent simaimirry@hotmail.com
Marc Aden Gray
g 2111•10.11111
1111/111M11@aol.com iMMOINI)
0(h)
Sharon Price Hyland Patty/Busty/Bennie/and as cast
Greg Jackson Williams/Mike/Gramp/HJ/Fizzy
4111111M M INIIU ( h )
I,(c)
Gumbal/and as cast

Senator Thomas Patrick McDonald ///a110101111 (c) aMNMOMIIIP (h)


Vin Knight 1611•11111@nbc.com
111=1/11@hotmail.com w i i m a g a r (c) 0111M1111111
Erin Quinn Purcell Sugar 36 r (h)

ARTISTIC STAFF:

Samuel Buggeln Director 31111111111.11111Ma@veriz (c) (h)


on.net
11M1111111111111111
Lee Savage Set Designer trimelmecom 11.(c)
Lighting Designer 111111.01MIIIR©yahoo.com sommis( 11111111M(
Farley Whitfield h)
c)
Meganne George Costume Designer msn.com
Muttt 1111PP(c) 1•11110MP
Sound Designer
g
irt earthlink.net
(h)

Annie Assistant Director 111111111111@nyu.edu

Brian Hyland Additional Material 1111.11/Caol.com (c)

PRODUCTION STAFF:

Jessie Smith Production Manager / ACR Jessbjessie©aol.com (c)


Hui ,ton Theatre Company '02 SOUND PLOT As of 3/2006
- '03 Season
Dir. Nicholas Martin Noises Off JBS Page 1 of 1

SCENE # SCENE TITLE PAGE # SOUND CUE NOTES


ACT I (Pgs. 14 - 73)
1 DO1' I Y FORGETS 14 Telephone ring telephone is onstage
Key in lock discuss with props. (actor operated?) Door is up
2 ROGER AND VICKI ENTER 16
center
THE DOORS WON'T OPEN Key in lock discuss with props. (actor operated?) Door is up
3 25
OR CLOSE center
Knocking "Urgent" from the upstairs linen cupboard
6 VICKI IN HER UNDERWEAR 45

ACT II (Pgs. 74 - 143)


13 "ACT I BEGINNERS..." 74 Microphone announcement live-- at "SM consul" onstage
14 LLOYD NEEDS TIM'S HELP 77 Microphone announcement live-- at "SM consul" onstage
15 FRONT OF HOUSE CALLS 80 Microphone announcement live-- at "SM consul" onstage
15 FRONT OF HOUSE CALLS 81 Microphone announcement live-- at "SM consul" onstage
17 CURTAIN UP? 86 Microphone announcement live-- at "SM consul" onstage
17 CURTAIN UP? 89 Microphone announcement live-- at "SM consul" onstage
17 CURTAIN UP? 89 Buzzer Actor presses buzzer at "SM consul" onstage.
18 LOVE TRIANGLE 89 Telephone ring telephone is onstage
18 LOVE TRIANGLE 89 Applause from upstage "audience"
Key in lock discuss with props. (actor operated?) Door is up
18 LOVE TRIANGLE 91
center
ACT III (Pgs. 144 - 171)
Microphone announcement Not live sound. Poppy's voice: "Ladies and
25 DO_____IT Y'S LIMP 143 - 144 gentlemen, will you please take your seats. The
performance is about to...oh."
25 DOTTY'S LIMP 144 Telephone ring telephone is onstage
26 Key in lock discuss with props. (actor operated?) Door is up
WHERE'S THE PHONE? 145
center
27 THINKING OF INLAND Key in lock discuss with props. (actor operated?) Door is up
150
REVENUE center
28 YOU'RE PHILLIP? 156 Body falling offstage sound
28 YOU'RE PHILLIP? 159 Knocking "from upstairs"
30 THE SELSDONS 169 Telephone ring telephone is onstage
Huntington Theatre Company
SCENE BREAKDOWN As of 2/13/2006
'02 - '03 Season JBS
Noises
Page 1 of 3 Off

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Pg. 14 - 16 Dotty forgets X & C'.
X

Pg. 17 - 25 Roger and Vicki enter


X X X X X (25)

Pg. 26 - 30 The doors won't open or close X X (28 - 30)


X X X X X X

X (32 - 34) X
Pg. 30 - 34 Selsdon is "found" X X X X X X X

X (39 - 41)
Pg. 34 - 41 Tech resumes + why groceries? X X X X X X

Pg. 41 - 45 Vicki in her underwear


X X X X x

Pg. 45 - 48 The hunt for Brooke's contact


X X X X X X X

Pg. 49 - 53 Phillip and the glue


X X X X

Pg. 53 - 56 Selsdon attempts his entrance X X


X X X X (54 - 56) X

Pg. 57 - 62 Phillip's trousers f a l l down


X x X X X

Pg. 63 - 67 Flavia drops the biscuit tin


X X X X X X

Pg. 67 - 73 Sheikh + The last line o f the act X X X X X (71 - 73) X X X X

Huntington Theatre Company SCENE BREAKDOWN As of 2/13/2006


'02 - '03 Season JBS
Dir. Nicholas Martin
Noises Off
Boston University As of 2/13/2006
Opera Institute - 303 SHIFT PLOT JBS
Directors: Daniels/Lumpkin DON PASQUALE Page 1 of 2

CUE WHAT WHERE CREW NOTES


TIME

Page/Sy
(stem/Measure)
8/1/1 Curtain OUT 1
LIBRARY Into BALCONY
43/3/1 Tea Cart rolled offstage UL Marci Wagnon (Maid)
43/3/1 Wall drop OUT 1?
43/3/1 Scrim OUT 1
43/3/1 SL Periaktoid Position #2 2? Lock?
43/3/1 SR Periaktoid Position #2 2? Lock?
After wall drop is clear– get cue from
43/3/1 Balcony Unit
move D to C spike 3 (4?) ASM. Locking casters?
44/1/1 Couch move offstage L Paul Shafer has wheels
Paul Shafer, Josh Kohl, Gabi
44/1/1 Small Table w/ cigar box move offstage L place on ouch
Campos (Painters)
44/1/1 Chair move offstage L Gabi Campos has wheels
Paul Shafer, Josh Kohl, Gabi
44/1/1 Blanket place on chair or couch
move offstage L Campos (Painters)
might need second person to help-
44/1/1 Desk Josh Kohl (Painter)
move offstage L TBD tech
Gabi Kohl, Josh Shafer, ,
44/1/1 Stack of papers and books place on chair or couch
move offstage L Campos (Painters)
Paul Shafer, Josh Kohl, Gabi
44/1/1 Bell move offstage L place on chair or couch
Campos (Painters)
BALCONY Into INTERMISSION #1
74/4/4 Curtain IN 1
INTERMSSION #1
Balcony Unit move U 3 (4?) strike for rest of show
After Balcony Unit is clear, get cue
Wall Drop IN 1?
from ASM
SL Periaktoid Position #1 2?
SR Periaktoid Position #1 2?
Couch RC Painters and Crew yellow spikes
Blanket draped on couch Painters and Crew
Small table w/ picture frame R of couch Painters and Crew yellow spikes
Chair L Painters and Crew yellow spikes
Desk LC Painters and Crew yellow spikes
Boston University
Opera Institue - 303
COSTUME CHANGE PLOT As of 2/13/2006 J B S
Don Pasquale Page 1 of 2
Dir.
Daniels/Lumpkin
Time from Page/System/ XIT Time allotted
Singer (Role) CHANGE OUT OF CHANGE NOTES Wigs and Makeup Next NTR
INTO for Change
Top of Act Measure Where
ACT / LIBRARY (pgs. 8 - 43)

00:26:00 43/3/1 Darren Anderson/Steve Sanders R ♦ ACT I costume ACT II costume 26 min Act II places, R •
(Ernesto)
xit wearing toupee
David Cushing/Alexander Prokhorov
00:26:00 43/3/1 L ♦ ACT I costume ACT II costume xit with toupee box 35 min 83/5/3, L •
(Don Pasquale)
ACT I (pgs. 44 -
BALCONY 74)
00:26:10 44/1/3 Paul Shafer (Painter/Notary) UL PAINTER NOTARY 26 min 99/3/3, R •

00:26:35 44/3/1 Alex Boyer (Neighbor/Butler) UR NEIGHBOR BUTLER 44 min 75/4/2, L •

NTRS with veil on,


00:42:55 74/3/1 Sarah Asmar/Liz Russ (Norina) UC ACT I Pants and Shirt ACT II Dress into black Act II wig 21 min 86/1/4, R •
purse and bible

00:43:10 end Act I Meredith Woodend (Neighbor/Maid) R ♦ NEIGHBOR MAID 44 min 147/1/4, R •

00:43:10 end Act I Harry Baechtel/Oshin Gregorian R ♦ ACT I costume ACT II costume 20 min 86/1/4, R •
(Malatesta)

ACT II LIBRARY (pgs. 75 - 150)


00:23:00 114/2/2 Paul Shafer (Notary/Painter) R ♦ NOTARY PAINTER 11 min 147/1/4, R •

00:35:40 end Act II Sarah Asmar/Liz Russ (Norina) L ♦ ACT II dress ACT III dress into Red Act III wig 12 min 30 sec 157/1/1, L •

00:35:40 end Act II Harry Baechtel/Oshin Gregorian L ♦ Act II costume ACT III costume 26 min 183/3/2, R •
(Malatesta)

00 35:40 end Act II Darren Anderson/Steve Sanders L ♦ ACT II costume ACT III costume 26 min 185/1/9, UR
(Ernesto)

ACT III LIBRARY AND GARDEN (pgs. 151 - 231)


PAINTER NOTARY AFTER he sings with
00:26:58 205/3/6 Paul Shafer (Painter/Notary) UR ensemble 14 min 227/4/3, UR
Hunt n Theatre Company MASTER SCENE 3 BREAKDOWN
'02 - '03 season
Noises Off
Dir. Nicholas Martin

SCENIC LIGITTLNG
PG #s SC # TITLE CHARACTERS PROPS

ACT I (Pgs. 14 -
73) Dotty -first plate of sardines (14) -telephone table (14)1 -interior lighting
Lloyd -telephone w/ reciever connected to -sofa (14) ,I. (in tech– Lloyd is in the house)
14 - 16 1 DOTTY FORGETS
cord (14)
-newspaper (14)
Dotty -Carry's key (16) -front door has lock (16) I -interior lighting
Lloyd -Garry's cardboard box (16) (in tech– Lloyd is in the
Garry -Garry's flight bag (16) house)
16 - 25 2 Brooke -Garry's bottle of champagne (20)
ROGER AND VICKIPoppy (25)
-newspaper
ENTER -first plate of sardines (14)
-black sheets (25)
Dotty -Freddie's key (26) -downstairs door won't -interior lighting
Lloyd -Freddie's cardboard box (26) close (26) (in tech– Lloyd is in the
Garry -Freddie's flight bag (26) house)
Brooke -pill box and pill (27)
26 - 30 3
Poppy -tools (28)
THE DOORS WON'T
OPEN OR CLOSE Frederick
Belinda
Tim (28 - 30)
Dotty -interior lighting
Lloyd (in tech– Lloyd is in the
Garry house)
Brooke
30 - 34 4 Poppy
SELSDON IS Frederick
"FOUND" Belinda
Tim (32 - 34)
Selsdon
Dotty -Freddie's bottle of champagne (36) -interior lighting
Lloyd -second plate of sardines (36) (in tech– Lloyd is in the
Garry -F's cardboard box + flight bag house)
34 - 41 5 TECH RESUMES Brooke
AND WHY Frederick
GROCERIES? Belinda
Selsdon (39 - 41)
Dotty -hot water bottle (43) -bannisters on landing -interior lighting
Garry -tax demand and envelope (43) and stairs (41) / (in tech– Lloyd is in the
Brooke -first plate of sardine -linen cupboard door house)
41 - 45 6
VICKI IN HER Frederick -second plate of sardines has a lock and key (43) I
UNDERWEAR Belinda -F's cardboard box + flight bag
-linen cupboard door key (43)

Page 1 of 5

Countess/3 JBS (SM)

As of 10/25/04 1
Wesleyan, CFA Theatre
The following is the schedule for Monday 10/27 through our
closing performance on Saturday 11/15.
All rehearsals are on the CFA stage except as noted.

THIS SCHEDULE IS SUBJECT TO CHANGE!!!


Thanks,
-Jessie
MONDAY:(10/27)

1:30pm Meeting (Gay's office) E. Fisher

2:00pm Meeting (Gay's office) J. Weinberger

6:00 - 9:00pm Scene Work (Act III) S. Cohen


J. Phillippi
C. White E.
Gerdes E.
Fisher
J. Weinberger
G. Malen

TUESDAY:(10/28)

TBD Choreography rehearsal TBD

5:00 - 5:30pm Oratorio in Crowell R. Lerner

5:00 - 6:15pm Oratorio in 003 FULL ENSEMBLE

6:15 - 7:00pm Oratorio in 003 R. Lerner

6:30pm ADD: J. Robinson

7:00 - 7:30pm Oratorio 003 J. Phillippi


E. Gerdes

7:00 - 10:30pm I, v and II iv and v (CFA STAGE) FULL ENSEMBLE

WEDNESDAY:(10/29)

7:00 - 9:30pm work w/ orchestra (CFA STAGE) FULL ENSEMBLE

THURSDAY:(10/30)

4:15 - 6:30pm Choreography rehearsal TBD

6:00 - 9:00pm Scene work (Act II) S. Cohen E.


Gerdes C.
White
Countess / 3 JBS (SM)
Wesleyan, CFA Theatre

FRIDAY:(10/31)

3:00 - 6:00pm Scene Work (Act I) S. Cohen


J. Phillippi
C. White
C. Kaminstein
S. Horowitz J.
Robinson

SATURDAY:(11/1)
1:00 - 2:00pm Open orchestra rehearsal on CFA stage TBD

SUNDAY:(11/2)

5:00 - 9:00 Run thru FULL CAST

MONDAY:(11/3)

6:00- 7:30 ACT III S.Cohen


J.Phillippi
C.White
E.Gerdes
E.Fisher
J.Weinberger
G.Malen

7:00- 9:00pm Work with Orchestra FULL CAST


8:00- 10:30 Act III S. Cohen

TUESDAY:(11/4)

6:00 - 9:00pm Scene work (Act I) S. Cohen


J. Phillippi
C. White
C. Kaminstein
S. Horowitz
J. Robinson

WEDNESDAY:(11/5)
6:00 - 10:00pm Work with Orchestra FULL CAST

THURSDAY:(11/6)

6:30 - 10:00pm TBD TBD

As of 10/25/04 2
Countess/3 JBS (SM)
Wesleyan, CFA Theatre

FRIDAY:(11/7)

4:00 - 8:00pm RUN THRU (w/ orchesta TBD) FULL CAST

SATURDAY:(11/8)

ALL DAY JESS's 20th BIRTHDAY JESS

10 - 6:00pm TECH CAST TBD

SUNDAY:(11/9)

10;00 - 6:00pm TECH w/ Orchestra FULL COMPANY

MONDAY:(11/10)

5:00 - 11:00pm TECH w/ Orchestra FULL COMPANY

TUESDAY:(11/11)

5:00 - 11:00pm DRESS FULL COMPANY

WEDNESDAY:(11/12)

5:30 - 11:30pm Invited Dress (Final) FULL COMPANY

THURSDAY:(11/13)

7:30pm Half hour

8:00pm Curtain: PERFORMANCE #1 (Opening)

FRIDAY:(11/14)

7:30pm Half hour

8:00pm Curtain: PERFORMANCE #2

SATURDAY:(11/15)

7:30pm Half hour

8:00pm Curtain: PERFORMANCE #3 (Closing)

A s of 10/25/04 3
Huntington Theatre Company Noises Off As of 2/13/2006

'04 - '05 Season MASTER PRODCUTION CALENDAR JBS

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY


8-Dec 9-Dec 10-Dec 11-Dec 12-Dec 13-Dec 14-Dec
First Rehearsal REHEARSAL REHEARSAL REHEARSAL REHEARSAL
loam - 6pm loam - 6pm loam - 6pm loam - 6pm 10am - 6pm

15-Dec 16-Dec 17-Dec 18-Dec 19-Dec 20-Dec 21-Dec


REHEARSAL REHEARSAL REHEARSAL REHEARSAL REHEARSAL REHEARSAL
loam - 6pm AEA DAY OFF loam - 6pm loam - 6pm loam - 6pm loam - 6pm loam - 6pm

22-Dec 23-Dec 24-Dec 25-Dec 26-Dec 27-Dec 28-Dec


REHEARSAL REHEARSAL CHRISTMAS REHEARSAL REHEARSAL REHEARSAL
loam - 6pm loam - 6pm AEA DAY OFF AEA DAY OFF loam - 6pm loam - 6pm loam - 6pm

29-Dec 30-Dec 31-Dec 1-Jan 2-Jan 3-Jan 4-Jan


New Year's Eve New Year's Day TECH DRESS (8/10) 8pm Preview 8pm Preview
TECH (10/12) AEA DAY OFF TECH DRESS (10/12) TECH DRESS (8/10) Photo Call
7pm Invited Dress 5 hrs. Reh TBD 5 hrs. Reh TBD
5-Jan 6-Jan 7- an 8-Jan 9-Jan 10-Jan 11-Jan
7pm Preview 7:30pm Preview (SP) 7:30 OPENING 7:30pm Performa. ,,NC) 8pm Performance 2pm Performance
AEA DAY OFF 8pm Performance
5 hrs. Reh TBD 5 hrs Reh TBD 5 hrs. Reh TBD 12pm - 5pm U/S Reh 12pm - 5pm U/S Reh
12-Jan 13-Jan 14-Jan 15-Jan 16-Jan 17-Jan 18-Jan
2pm Performance (H) 2pm Performance (AF) 7:30pm Performance LOAM MATINEE (AF) 2pm Performance
7pm Performance AEA DAY OFF AEA DAY OFF 7:30pm Performance (O&A) 8pm Performance 8pm Performance
12pm - 5pm U/S Reh
19-Jan 20-Jan 21-Jan 22-Jan 23-Jan 24-Jan 25-Jan
2pm Performance (AD) Martin Luther 6pm ASL RHEARSAL 7:30pm Performance LOAM MATINEE 8pm Performance 2pm Performance
King Jr. Day 7:30pm Performance (ASL/ AF/ AD) 8pm Performance
AEA DAY OFF 7:30pm Performance
26-Jan 27-Jan 28-Jan 29-Jan 30-Jan 31-Jan 1-Feb
2pm Performance AEA DAY OFF 7:30pm Performance 2pm Performance (AF) 7:30pm Performance 8pm Performance 2pm Performance (AD)
7pm Performance 7:30pm Performance 8pm Performance

2-Feb
(SP) - Sneak Preview discussion before the (ASL) - Performance is American Sign Language interpreted.
2pm CLOSING
(H) - Humanities Forum/ performance. the performance. (AF) - Actor's Forum the performance.
(AD) Performance (NC) - Pre Show events discussion following "Night Club"
Behind the scenes
following for "Our and About" Club
and

P a g e 1 o f 1
SUBJECT TO CHANGE
Huntington Theatre Company
Noises Off
25 2 H unt i ng t o n A v e nue TECH/PERFORMANCE SCHEDULE '02 — '03
Season

Thursday, December 26th


9:00am Hang
!:00pm Load in
11:00pm End of night

Friday, December 27th


9:00am Load in
6:00pm Spike call
11:00pm End of night

Saturday, December 28th


9:00am Finish Hang, Focus
11:00pm End of night

Sunday, December 29th


10:00am Wardrobe crew called
10:30am Rim crew called
11:30am Stage clear for stage management
12:00pm FULL CAST called for tour (meet onstage)
12:30pm TECH
5:00pm Dinner Break
7:00pm Continue TECH
12:00am End of night

Monday, December 30th


AEA DAY OFF

Tuesday, December 31st


New Year's Eve
8:00am Wardrobe crew called
9:00am Run crew called
9:30am Stage clear for stage management
10:00am FULL CAST half hour
10:30am TECH
3:00pm Break
5:00pm Continue TECH
10:00pm End of night

7:00pm FULL CAST half hour


7:30pm Performance #28

Friday, January 31st


6:00pm Wardrobe and run crews called
7:30pm FULL CAST half hour
8:00pm Performance #29

SCHEDULE IS SUBJECT TO CHANGE Page 5 of 6


SM HANDBOOK JBS (SM)
CFA Date — Date Page 1 of 1

REHEARSALS

1. Make your assistants do everything.

Just kidding. During the rehearsal period you will:

1. Arrive 30 minutes before rehearsal and be prepared to stay 30


minutes after rehearsal. You'll need to sweep (maybe mop) before
rehearsals, set up the room and generally prepare for the day. Make sure to turn
off lights when you leave. Always keep track of your keys.
1. Keep track of blocking (see "Paperwork") while your assistants manage
where the props are set and struck to, and if there are any quick-changes (less
than 1 minute) or if there are any particularly noteworthy costume issues.
2. Make sure your assistants are on top of their shit—each of them will
have a side of the stage during the performance. They will manage that
particular side and be in charge of everything that goes on there. Make sure they
are increasingly prepared to do this. The quality of your assistants can really
hurt or help the show significantly—do everything you can to make sure
they're awesome. It will make your job tremendously easier!
3. Keep a running list of changes, additions and notes that you get
from the director or actors during rehearsals. You will then put
this information in the Rehearsal Notes (see "Rehearsal Notes") which
you will e-mail out to the entire creative/production team every
evening after rehearsal. This is
the bulk of your job during rehearsals: make sure the designers know about
changes, additions or notes – the daily rehearsal notes are a log of how the
show develops. Your job is to make sure everyone (EVERYONE) is on the
same page.
4. Meet the director at the end of the week to discuss the following week's
rehearsal schedule (depending, of course, on the Conflict Calendar). You
will e-mail this schedule out to everyone (CAST, creative and production team)
and ALSO post it on the call board. Always keep a copy of the week's
schedule handy—people will ask frequently regardless of e-mails and
postings. ©
5. Attend weekly production meetings.
a. Hand out updated paper-work.
b. Discuss major changes and problems with designers. [Assume that they read the
daily notes, but make sure to bring up major changes to double check they they're as
on top of their shit as you are. 0]

As of 5/11/2006
SM HANDBOOK JBS (SM)
CFA Date — Date Page 1 of 1

DAILY NOTES

You will e-mail these out every day and after every production meeting. Have a heading for
each department and tell them exactly what happened that day and give them any notes,
changes (adds or cuts) that you can think of. This is your way of communicating with the
departments between production meetings. Make sure these notes are as specific as possible.
Putting character names in CAPS helps to differentiate them from anything else you're
talking about. Always saying "thank you" in some form keeps things light, polite and
happy.

For example, on a light day you might write:

SCENIC:
-The door in scene 3 needs to open downstage.
-The director would like the curtains in scene 4 to extend past the window and drape onto
the floor. GEORGE needs to hide behind them on page 34 of this scene.
T h a n k y o u !

LIGHTING:
N o n o t e s t o d a y !

PROPS:
Cut the milk jug in scene 2.
Add a bottle of milk (instead of the milk jug) in scene 2.
Thanks for the new props today—very helpful!!

COSTUMES:
Can my ASM come by to pick up the extra rehearsal shoes tomorrow?
What's the best time for you?
Th e d irector would like to a d d a large traveling hat for M A RY in s cen e 3 .
T h a n k s v e r y m u c h .

PUBLICITY:
- Bios will be e-mailed to you on Thursday. When can we see proofs?
Hop e you had a good trip. Sorry you couldn't make the production
meetin g yes terday—we missed you!

Thanks!
You (SM, The Title of Your Show)

As of 5/15/2006
SM HANDBOOK JBS (SM)
CFA Date — Date Page 1 of 1

SCRIPT

You'll be recording all of the blocking and the cues in your script.

1. When you Xerox a copy of your script, see if you can make the margins on the right
side a little wider. This will leave room for you to write cues.
2. Make blocking sheets for yourself with a map of the stage. Either ask the scenic
designer to make mini ground-plans for you, or do it yourself (as I did, in the drawing tools
of Microsoft Word.)
3. Make sure you have a KEY of what your symbols mean. You will want to come
up with some shorthand system that will work for you. This blocking notation
needs only to be understood by you and your assistants—but if something
happens to you and your assistants, there should be a key somewhere in your
book to indicate what it all means.

For example (for the following pages of script, blocking and cues):

(-as, cla_ckaA--

(Dotkci exk-kx-

of \ c - A- \ / - 0- An

eNckt

WALL- CA/or

As of 5/15/2006
QuickTimeª and a
TIFF (LZW) decompressor
are needed to see this picture.
2 NOISES OFF

Enter from the service quarters MRS CLACKETT, a


housekeeper of character. She is carrying an imposing
plate of sardines.
MRS CLACKETT. It's no good you going on. I can't ope
sardines and answer the phone. I've only got one pair of
feet. (Puts the sardines down on the telephone table by
the sofa, and picks up the phone.) Hello . . . Yes, but
there's no one here, love ... No, Mr Brent's not here .. .
He lives here, yes, but he don't live here now because he
lives in Spain . . . Mr Philip Brent, that's right . . . The one
who writes the plays, that's him, only now he writes them
in Spain . . . No, she's in Spain, too, they'r;11 in Spain,
there's no one here ... Am I in Spain? Nk,i'm not in Spain,
dear. I look after the house for them, only I go home at
one o'clock on Wednesday, so that's where / am . . . No,
because I've got a nice plate of sardines to put my feet
up with, and they've got colour here, and it's the royal
what's it called — the royal you know — where's the
paper, then . . .

She searches in the newspaper


. . . And if it's to do with letting the house then you'll
have to ring the house-agents, because they're the
agents for the house . . . Squire, Squire, Hackham and
who's the other one . . . ? No, they're not in Spain,
they're next to the phone in the study._Squire, Squire,
Hackham, and hold on, I'll go and look 30)
She replaces the receiver.
Or so the stage-direction says in Robin Housemonger's
play, Nothing On. In fact, though, she puts the receiver
down beside the phone instead.
Always the same, isn't it. Soon as you take the weight off
your feet, down it all comes on your head
Exit MRS CLACKETT into the study, still holding
the newspaper.
SM HANDBOOK JBS (SM)
CFA Date — Date Page 1 of 2

TECH

Tech is a crazy time. Things will inevitably go wrong. You will need to find quick
solutions to problems. There will be a lot of hurry up and wait. Most of all, the entire
show will come together miraculously in just a few short days. And you will have a
LOT of stressful FUN. Remember: 1. the show WILL go up and 2. Every "crisis" is
totally fixable. Do not freak out about anything (outloud), and do not let your assistants
or bitchy actors freak you out: You're not saving dying children in Rawanda. It's just
theatre.

Things you need to work out before tech week begins—either at a final production
meeting, or through e-mails and private conversations.

1. The actors need to be scheduled for fittings for their costumes. You, or your
assistant, will schedule this with the costume designer.
2. You will need to determine how many crew members you need so that they
can be recruited through BPT (figure out how many on the flies, how
many costumes assistants, how many extra backstage hands, spot light
operators etc.). Your assistants should help in this recruitment—post a sign
advertising your needs on your call board. You are in charge of getting
your crew together..
3. You will need to figure out how many headsets you need/are available to you.
4. You will need to work out the complete and detailed tech schedule. You
will break this down very specifically and e-mail this out to everyone and post
this on the call board and in the dressing rooms.
a. When will be set be loaded in? When will the real props be loaded
in?
b. How much time will lighting need? You will need a few hours for a
"dry tech" which is just when the designer goes cue-to-cue to figure out
the design. You will need a few actors, or your assistants to "walk"—
which means stand around according to your careful blocking notation,
so that the designer can light something.
c. How much time does your crew need to set up? When do they show
up to the theatre?
d. How much time do the actors need to get ready? When do they arrive at
the theatre?
e. Are there complicated sequences with flies and lights and moving
scenery? Do these need to be choreographed so that they look pretty?
When will you and the director do that?
f. When is your final dress rehearsal?
5. Talk to the box office about complimentary tickets. You will need to give them
a list of comp tickets (make a list for your actors, crew, production team and
assistants to fill out) and they can hook it up for you.

As of 5/11/2006
SM HANDBOOK JBS (SM)
CFA Date — Date Page 2 of 2

Pre-tech is about careful scheduling. You can find an example of a tech schedule in
"Paperwork"—that should help understand how things usually work out.

DURING TECH:

1. You are in charge.


1. When the actors arrive, show them around the set, show them where the prop
tables are and where their dressing rooms are. Explain tech protocol. You will control
communication. You will Yell "HOLD" and then tell everyone where to pick up from.
Explain to them that patience is key.
1. When tech is ready to begin, you will simply and carefully work
through the entire show from beginning to end with all of the lighting cues
and scenic elements and you will work through problems as they arise.
You
may need to go back and repeat things in order to get them right. This takes
patience and focus on everyone's part.
2. You will sit at the tech table with the lighting designer in the house. During tech
you will be write down lighting cues and other cues (fly cues, cues for an
entrance, cues for a sound etc.) in your book (see "Paperwork").
1. You will be on a headset, in contact with your assistant stage
managers.
Each of them will take a side of the stage and manage that side. You should nto
ever have to go backstage during tech. Your assistants should be able to manage
everything going on back there. You don't want to know—it's chaos.
As problems arise, they will tell you and you will determine whether
a) your assistants can solve the problem themselves or b) you need
to hold.
3. During tech you may need to stop whatever is going on for any number of
reasons (ie: the lighting designer needs a minute to figure something out,
there is a problem backstage with a prop being set, an actor can't
change into his/her costume fast enough etc.). Simply yell "HOLD
PLEASE!" and wait until everyone is ready to resume tech. Then, the
polite way to resume is to yell "THANK YOU FOR HOLDING. WE'LL
TAKE IT FROM THE LINE
_________say the beginning of the line____) WHENEVER YOU'RE
READY" and then tech will magically resume!
4. There will be full company breaks. You'll also need to call those and bring
everyone back. Remember that during tech, everyone is on a tight schedule.
2. You may need to set aside time to train your crew and work
through scene changes. It is best to do this without actors around so as not
to waste their time. This is called a "cue-to-cue". You will call cues to the
lighting designer as you yell out the lines leading into a scene change. The
crew will rehearse the scene change in real time. This is a very helpful thing
to do!
2. You do not need to send out your daily notes during tech. It is usually helpful to
have a quick meeting with the director, crew, your assistants and the designers at the
As of 5/11/2006
end of the tech-day to talk through how you will solve problems, what needs to be
fixed, and what the next day will be like.
SM HANDBOOK JBS (SM)
CFA Date — Date Page 1 of 2

PERFORMANCES

1. The performance calendar, with all call times, should be posted in the dressing
rooms, on the call board, and e-mailed out to everyone.
2. call your crew about an hour before 'A hour or more, depending on your set-up
time. They will need to sweep, mop, and re-set backstage, the flies and
onstage for the top of the show.
3. encourage your assistants to have check-lists for pre-show and to assign pre-
show jobs to the crew. This will make things go smoothly during the last few
run-thrus during tech and for all performances.
4. Make yourself a check-list. You will need to do a channel check with your
light board operator and a sound check with your sound board operator.
5. The actors are called 30 minutes prior to the start of the show (curtain). When
they arrive you will give them calls:
a. "Half hour" (30 minutes) and "the house is open"
b. "15 minutes please" (we're at 15, ladies and gentleman, we are at 15)
c. "10 minutes please" (etc.)
d. "5 minutes please"
e. "Places please" (places please for the top of the show, places please)
6. You will check in with the house manager during this time. The stage should be
CLEAR at 30 minutes, and you should be able to tell the house manager that
he/she can open the house. You must tell your company when the house is
open, because noone can be onstage during this time and with the exception of
backstage business and getting into costume and makeup, you should be ready
to go.
7. At 5 minutes, you will again check in with the house manager. You may need
to hold the house for a little while so that stragglers can see the beginning of
the show. You should delay any more than 5 minutes (Which is standard.)
8. at show time, tell the house manager that you will begin. Turn on your headset
and check in with everyone. Tell your assistants to have everyone on standby
for the beginning of the show. Now you may call your first cue and begin.
9. for cue calling, you will want to give a "standby" a few seconds before you call a
cue. This is so that everyone a) knows that you will be calling a cue and should
not talk during that time on the headset and b)so that the board operator is
prepared to press the go button.
10. Never say the word "GO" on headset unless you are using it to call a cue. If
you need to talk about the word "go", use the letters "G-O". it will prevent
mistakes/early cues.
11. Never alter the placement of a cue, or make any changes without the director
or lighting designer's permission.
12. After the show, you will need to lock up the booth and turn off lights. Your
assistants will need to clean up backstage. You will then need to wait until
everyone has left the theatre to turn off the lights to the theatre and set up the
ghost light. Suzanne can help explain set-up and storage.

As of 5/15/2006
SM HANDBOOK JBS (SM)
CFA Date — Date Page 2 of 2

STRIKE

After the totally inebriated fun of your cast party, you, your crew and cast will
need to return to the theatre one last time.

1. After your last performance, make sure the stage is clear.


2. On that Monday, clean up your stuff and return keys to Suzanne.
3. coordinate, in advance, with props to ensure that they have a plan to remove
props.
4. As many people as can need to attend the Monday afternoon BPT strike,
especially you.

CONGRATULATIONS! You have successfully stage managed a Wesleyan


Theatre department show. You will feel lonely over the next few weeks, and your
inbox will feel empty—but relax. Catch up on work. And ask Jack if you can
stage manage the next one. 0

As of 5/15/2006
Sm Handbook JBS (SM)
CFA Date – Date Page 1 of

TIP SHEET

1. Cover Your Ass (CYA). You have a lot of responsibility. Assume that people are less on
top of their shit than you are. Double check everyone. Send e-mails "just double checking
that you..."—with a lot of pleases and thank yous and you're the bests, this won't come off
as obnoxious, it will come off as responsible.
2. Always be on the same page as your assistants and make sure they know exactly
what's going on. You have more say/power than them, but they are just as
important as you are. They will be running the show during performances. You'll
just be stuck up in a little booth at the back of the theatre, calling numbers into a
headset. Build trust with them and they will trust you back. Then, you'll have a
happy wonderful show.
1. Stay calm, happy and on top of it, even when you're not. And you wont always
be. But pretending sometimes makes a huge difference.
3. Keep your book organized, updated and easily accessible. People will ask you
stupid questions all the time ranging from (my personal favorite, because it's such
an assholic, self-centered question--) "what's my schedule next week?" to "Does
The Duke have a pocket watch in scene 5, and if so, is it in his jacket pocket or
pants pocket?"
4. Anticipate everything. A good stage manager know what the director wants before
he asks for it, and what the lighting designer will need before he/she tells you
about a cue.
5. Don't be afraid to ask questions. You should be crystal clear on everything. A
quick clarification e-mail can make a big difference.
6. Check your e-mail as much as possible.
7. Have fun!

As of 5/11/2006
SM HANDBOOK JBS (SM)
CFA Date — Date Page 1 of 1

CHECK LISTS

Don't skimp on check lists!

Have one for pre-pro, one for rehearsals, one for pre-rehearsals and one for post-
rehearsals every day. One for tech, one for dress rehearsals. One for
performances and one for cleaning up after the show.

Keep lists of things you need to do and check them off as you do them.

Also, generate pre-show and post-show lists for your crew.

The following is an example of a check list.

As of 5/15/2006
The Ontological-Hysteric Theatre SM CHECK LIST
My Renaissance Faire Lady, May 6th - 30th, 2004 Page 1 of 1

PROP SET WHERE NOTES


Boombox off R
Tape boombox RESET
Clipboard off R replace index-card
2 metal bats off R in foam cubby hole
dream catcher off R
3 lanterns off R
chicken suit and gloves balcony -
wrapped in black skull cross
bones fabric
balcony -
wrapped in black skull cross
Donky mask and gloves
bones fabric
air freshener UR radiator
rag UR radiator
"parchment" UR radiator?
3 lanterns on UR radiator
crown UL radiator
candy UL radiator
book UL radiator
2 Month signs UL radiator
"puppets" UL radiator
22 ribbons UL radiator
trophy UL radiator
stool under stairs (UR)
2 beers nxt. Stool
plastic bag UC (against UL radiator)
blue tunic off L (ontop of ropes)
2 pairs of gloves off L (on back of set)
St. Bernard Staff against UC wall
recorder ULC (in cubb )
COSTUME SET WHERE
NOTES
J.F.'s Wim . ole COREY
SET/ LIGHTS/ SOUND PRE-SET CHECK
NOTES
PRESHOW
Maypole double cbeck with black gaff 20 minutes
Payphone mic on SOUND CHECK
Mini Disc run thru cues SOUND CHECK
Dimmer/ channel check all channels at full? 5 minutes
Board run a few cues 5 minutes
Blackout check houselights etc.
PRESET (Cue 1) Before house opens 7:45pm
Dressing Room lights off at PLACES run lights
black door masking GO EVAN, close house
POSTSHOW
Mini Disc OUT
Sound Board OFF
Light Board OFF

Dr. Gerald Freedman An Enemy of the People As of 2/13/2006


Aug. 20-24 JBS (ASM)
PRESET MEC-RUST

Page 2 of 2

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