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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:
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 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:
ARTISTIC STAFF:
PRODUCTION STAFF:
"4...:.°
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4. * 4.- 40 4:•••,6 tr°4* 4 1
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4‘4.C.
Pg. 14 - 16 Dotty forgets X & C'.
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
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 •
00:43:10 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)
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)
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
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.
TUESDAY:(10/28)
WEDNESDAY:(10/29)
THURSDAY:(10/30)
FRIDAY:(10/31)
SATURDAY:(11/1)
1:00 - 2:00pm Open orchestra rehearsal on CFA stage TBD
SUNDAY:(11/2)
MONDAY:(11/3)
TUESDAY:(11/4)
WEDNESDAY:(11/5)
6:00 - 10:00pm Work with Orchestra FULL CAST
THURSDAY:(11/6)
As of 10/25/04 2
Countess/3 JBS (SM)
Wesleyan, CFA Theatre
FRIDAY:(11/7)
SATURDAY:(11/8)
SUNDAY:(11/9)
MONDAY:(11/10)
TUESDAY:(11/11)
WEDNESDAY:(11/12)
THURSDAY:(11/13)
FRIDAY:(11/14)
SATURDAY:(11/15)
A s of 10/25/04 3
Huntington Theatre Company Noises Off As of 2/13/2006
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
REHEARSALS
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.
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
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:
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.
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
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.
As of 5/15/2006
The Ontological-Hysteric Theatre SM CHECK LIST
My Renaissance Faire Lady, May 6th - 30th, 2004 Page 1 of 1
Page 2 of 2