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StageManagementHandbook

RevisedFall2017

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CHAPTERONE-AnIntroductiontoStageManagement

Whatdoesstagemanagementdo?

• Makesrehearsalhappen• Makeseachperformancehappen• Istheessentialpointofcommunicationbetweeneveryone.

Iftheseresponsibilitiessoundenormousitisbecausetheyare.Throughoutyourexperience,rememberthatyouareapartofastagemanagementteamandtogetheryouwillsharetheresponsibilities,challenges,andtriumphsofthisrole.Thedepartment’sProducerservesasyouradvisor.Cometohimorherifyouhaveanyquestions,concerns,orproblems.Rememberthatthisisalearningexperience.Nostudentstepsintoastagemanagementroleequippedtoexecutethejobperfectly.

WhydoIhavetostagemanage?

1. Itprovidesacomprehensiveviewoftheproductionprocess.Asastagemanager,youwillseehowallpartsoftheproducingmachineworktogether.Thestagemanageristheonlypersononaproductionthatfollowsitallthewayfrompre-productionthroughclosingnight.

2. Youwillgetpracticalmanagerialandorganizationalexperience.Asastagemanager,youwillbeinvolvedinmanagingartists,technicians,andfellowstudents.Youwillmanagealotofinformation,numerousschedules,andreamsofpaper.Youwillbecalledontoanswerallkindsofquestionsabouttheproductionandyouwillneedtoknowhowtofindthoseanswersveryquickly.Thisexperiencewillserveyouinanycareerorlifepathyouchoose.

3. Youwilllearnandpracticediplomacyanddelegation.Whenyoufillaroomwithartists,youalsogetaroomfilledwithpassionsandstrongopinions.Whenallofthatindividualartistryiscombined,theatrehappens.Butitisnoteasyanditisnotalwayspeaceful.Partofyourjobistomakesurethateachoftheseindividualsisheardandthatallneedsareaddressedinthemosteffectivewaypossible.

4. Yourcommunicationandcreativeproblemsolvingskillswillbetested.Astheatremakers,weprideourselvesongoodcommunicationskills.Fromfirstrehearsaltoclosingnight,thesuccessoftheproductiondependsonyoureffectivecommunication,verbalandwritten,withtheentireteam.

5. Ifyouwanttobeanactor,understandingtheroleofthestagemanagerisessential.Asaprofessionalactor,yourstagemanagercanbeyourbiggestally.

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ChapterTwo:Pre-Production

Beforetherehearsalsevenbegin,theProductionStageManagerwillideallybeonboardandhardatwork.Thereisagreatdealofpre-productionorganizationalbusinessforthePSMtoattendtoinordertoaidtheproductionprocess.ThePSMwillbecomewellacquaintedwiththeplay,thedirector,andtheproductionteam.Thisimportantpre-productionworkisoutlinedbelow.

CONFLICTS: DuringAuditions,theactorswillhaveturnedinsheetsdetailingtheirconflicts.Itisimportantthatalloftheseconflictsareconsideredwhenformingtherehearsalschedule.Thisschedulemaybesomethingthedirectorputstogetheraloneorwithyourassistance.Onlythedirectorcanapprove(ordisapprove)conflicts.Oncetheproductionassignmentshavebeenposted,theStageManagementteamshouldsitdownwiththeProduceranddiscusstheteam’sownconflictsandhowtheywanttocoverthebreakdownofrehearsal.Besuretospeakupwhenyouhaveaconflict,andtrytoassembleaschedulebeforethefirstrehearsalevenbegins.(Foranexampleofthisbreakdownappliedtotherehearsalschedule,pleaserefertoChapter4:Scheduling.)

THESTAGEMANAGEMENTKIT: Avitaltoolintheprocess,thestagemanagementkitisaboxcontainingitemsthatmaybeneededduringrehearsals.TheboxisobtainedfromtheProducer,andshouldbebroughttoeveryrehearsalwithoutfail.Aninventorylistforeachtoolboxislistedonalaminatedcardontheinsideofthebox.Shouldsomethingbemissingfromtheboxoryouarerunninglowonsupplies,youshouldlettheProducerknowsotheycanreplaceitforyou.IDENTIFYTHESPACE: Beforethefirstrehearsaloreventableworkbegins,thestagemanagementteamshouldfamiliarizeitselfwithwhateverrehearsalspacetheproductionwilloperatein.Beawareoftherulesofeachspace(nofoodonrisers,thesoundequipmentetc),andplanaheadastowhatpropsandseatingwillbeneededforrehearsal.CREATINGTHESTAGEMANAGERBOOK: TheStageManagerbookisperhapsthemostimportantthingtoastagemanager,besidestheSMKit.Thebookshouldincludeeverythingconcerningtheproduction,andshouldbeinalocationaccessibletotheentirestagemanagementteam.ThebookwillbefurtherexpandedoninChapter6,butaquickchecklistofwhatitshouldinclude:

• Anykeys(tothemainoffice,soundequipmentetc)• TheProductionMeetingnotes• CharacterSceneBreakdown• CastList• ContactInfo• Propslists

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• RehearsalReports• AllSchedules• MasterCalendar• Acopyofthegroundplan• Insertsofthegroundplan(forblocking)• Ablockingkey• Allconflicts• TheMasterScript• ThePromptBook• LineNoteSheets• BlankPaperfornotes• CostumePlot• Pre-setlists

THEPAPERWORK: ThepaperworkthatthePSMgeneratesshouldalwaysbeorganized,clearandaccurate.Allpaperworkmustbecreatedinconjunctionwiththedirector,andmustbedistributedtotheentireproductionteamimmediately.TheProductionStageManagershouldcreatethedocumentslistedbelowinconsultationwiththelargerProductionCalendar.Inordertoallowthedirectortimetoreviewthedocumentsandmakerevisions,thePSMshouldsubmitdraftsnolaterthanoneweekpriortothefirstproductionmeeting.Alwaysnotethedateoflastrevision,asdocumentsmayneedtoberevisedduringtheprocess. **Hint–savedocumentsthataretobedistributedasPDF’s.

ContactSheetsAstheProductionStageManager,youwillcreateaContactSheettodistributetoboth

theproductionteamaswellasthecast.Thislistcanbebothhandedoutatorbeforetheirfirstproductionmeetings,andgiventothecastatthefirstreadthrough.TheContactSheetincludes:• Thenameandroleofeachpersoninvolvedintheshow• Theiremailaddresses• Theirofficephonenumbers(andextensions)• Theirhomeorcellphonenumbers,ifvolunteered.Character/SceneBreakdown

ThecharacterscenebreakdownisimportanttothedirectorandPSMastheyarehelpfulwiththecreationoftheweeklyrehearsalschedules.Thisdocumentprovidesaclearbreakdownofwhichcharactersareinwhichscenes/pagesoftheplay.Suchinformationisalso,forexample,helpfultoacostumedesignerwhomightneedtocreatemultiplecostumesforacharacter.TheCharacter/Scenebreakdownshouldinclude:

• SceneNumber• Atitleordescriptionofthescene• Thestartingpage• Theendingpage• Whoisinthescene

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ChapterThree:Scheduling

Schedulingisoneofthemostimportantdetailsinaproduction.Itisvitalthatyou,astheStageManager,areabreastofallschedulingconflicts,whichcanincludeanythingfromactorconflictstorehearsalspaceissues.

MasterRehearsalCalendar–usedforthemajorityofproductions.Workingwiththedirectorandinconsultationwiththemasterproductioncalendar,thePSMcreatesaMasterRehearsalCalendarthatincludes:

• Rehearsaltimes• Rehearsallocations• Rehearsalnaturetotheextentknown(ex.workingrehearsal,read-thru,run-thru,tech

rehearsal,dressrehearsal)• Performancedatesandtimes• Performancedatecalltimes• Strike

OTHERWAYSTOSCHEDULESomedirectorschoosetoschedulerehearsalsweekbyweek,postingthefollowingweek’srehearsalscheduleontheFriday.

• ReservingtheRehearsalVenue–OncethePSManddirectorhavecreatedtheMaster

RehearsalCalendar,thePSMmustimmediatelyreservetherehearsalvenueforallrehearsaltimes.SchedulesforeachroomaremaintainedbytheTheatreDepartmentandtypicallypostedonbulletinboardsinthehallway.Ifthereareanyconflicts,thePSMshouldnotifythedirectorimmediately.InCunningham,therearetworehearsalspaces;theBarbertheatreandroom100.Besuretocheckwiththedirectorastowhatroomyouaretoreserve,andbesuretomakesurethelocationisindicatedonthemasterschedule.

• RehearsalAssistant–Duringtheproductionprocess,thestagemanagementteammaybe

assignedarehearsalassistantwhohasaspecificnumberofhourstocompleteasthelabrequirementfortheirTHE101.NotonlyisitimportanttoscheduleintheRehearsalAssistantearlyontoensuretheycompletetheirhours,theRehearsalAssistantcanoftentimesserveasamemberofthestagemanagementteam,andcanhelpwithanythingfromlinenotestosetup.

• Conflicts–Itisimportanttodouble-checkallactorconflictswhenpreparingthemaster

schedule.Theseconflictsshouldbelistedontheauditionformseachactorfilledout,andshouldbekeptintheStageManagementbookforreference.Thestagemanagershouldconfirmconflictswiththecastatthebeginningoftherehearsalperiod.

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ChapterFour:TheFirstRehearsal

Afterthecastlisthasbeenposted,thenextconcernofthestagemanagementteamistogetreadyforthefirstrehearsal.Typically,thedirectormaywanttospendseveraldaysdoing“tablework”wheretheactorsspendrehearsaltimearoundatablereadingthescriptandexploringobjectives,characters,history,etc.Inordertobefullyprepared,thereareafewhousekeepingdetailsyoushouldattendto.ContactingtheCast

• TheProductionStageManagershouldcontactthecastimmediatelyviaemailtointroduceherself.

• Initialcontactshouldinclude:o Apositivewelcometotheproduction!o ThenameandcontactinformationoftheProductionStageManager.o AbriefdescriptionofthePSM’srole.Itwillbeexplainedindetaillater,butthey

shouldbetoldtocontactthePSM,NOTthedirector,regardinganyscheduleconflictsorquestionsregardinglogistics.**Thisisimportant!!Establishingthechainofcommunicationearlyoniskey.Thishelpsminimizeanymiscommunicationsandmistakes,andclearlyinformsthecastwhotocontact.

o Theconfirmeddate,timeandlocationofthefirstread-thru.o Whenandwherethecastcanobtainscriptsand/orscores.(Thismayhappenatthe

firstrehearsalitself)**Hint:BesuretocheckthateverymemberofthecastandanyrehearsalassistantshavecatcardaccesstoCunningham

ScriptandScoreDistribution

• Scriptsand/orMusicalScorescanbedistributedatthefirstread-thru,ifitishappeningimmediately.Ifthedirectorprefers,orifthereisasignificantlagtimebetweencastingandthefirstread-thru,thecastcancontactthePSMtoobtaintheircopyofthescript.

• ThePSMshouldmaketheactorsawareoftheconditionsunderwhichtheyareusingthescript/score.

o ActingEditionsorPhotocopies:TheactorsaretypicallypermittedtopermanentlymarkandkeepActingEditionsorPhotocopiesofthescript.

o RentedScriptsandScores:Theactorsaretypicallyallowedtomarktheselightlyinpencil.ThePSMshouldassignanumbertoeachscript/scoreandkeeprecordwhichactororproductionteammemberhaswhichcopy.

• ThePSMshouldstronglyencourageactorstoputtheirnameintheircopyofthescriptimmediately.Besuretostresstothecastthattheirscriptistheirresponsibility—notthatofthestagemanagementteam.

**Hint:Besurethattheentirestagemanagementteamhasacopyofthescript,andthatyouhaveatleast2cleanextrasintheSMBox.

Stagemanagerswilloftenneedtomakecopiesofforms,reports,andotheritemsforrehearsal.Oncechosen,thestagemanagementteamshouldmeetwiththeProducertoreceiveacopyofthestagemanagementkeysalongwithinstructionsonhowtousethedepartmentcopymachine.

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THEFIRSTREAD-THRUTheFirstRead-Thruistypicallyscheduledwithintheweekaftercastingisposted.Sometimesitoccursasearlyasthefollowingday.TheProductionStageManagershouldbesuretosignouttherehearsalvenue,andconferwiththedirectorastowhatsetuphe/shewouldlike. WhoShouldBeThere

• Theentirecast• Thedirector• Themusicaldirector(ifapplicable)• Thechoreographer(ifapplicable)• Theproductionstagemanagerandanyotheravailablemembersofthestagemanagement

team.(Thisisimportantforthecasttomeettheteaminperson!)• Thedramaturg,ifthedirectorwishes• Thedesigners,ifthedirectorwishes–theymightpresenttheirdesigns• Thedialectcoach,ifheand/orthedirectorwishes

MaterialsNeededfortheFirstRead• Allscriptsand/orscoresthathavenotyetbeendistributed• TheProductionStageManagershouldcomepreparedwithapacketforallactorsthatmust

includethefollowing:o TheContactSheeto TheMasterRehearsalCalendaro TheWeeklyRehearsalSchedule(ifapplicable)o TheCastConflictSheeto TheActor’sHandbook–obtainthisdocumentfromtheProducerpriortothe

firstread-thruandmakecopiesforthecast.TheProductionStageManagermustalsoreadandbefamiliarwiththisdocument.

o TheAppliedTheatreRequirements–theProducerwillensurethatanyneededpaperworkisbroughttothefirstrehearsal

o Emergencyinformationsheet

TheProductionStageManager’sRolePriortothebeginningofthescriptreading,oratsomeothertimeduringtherehearsalifthedirectorprefers,theProductionStageManagermustattendtohousekeepingdetails.

• ThePSMshouldcirculatethecastconflictsheetandaskallactorstodoublechecktheirconflictsandmakealladjustmentsnecessaryatthattime.

• ThePSMshouldalsocirculatethecontactsheettoensurethatthecontactinfoforeachcastmemberoranyremainingmembersoftheproductionteamiscorrect(youcandothisviaemail)

• ThePSMshoulddistributescript/scorecopies.• ThePSMshouldsignoutbynumberanyscripts/scoresthatarerentedormustbereturned

attheendoftherun.

Checkwiththedirectoronhowhe/shewantstouseyouduringtheread-through.OftenitisthePSM’sdutytoreadallpertinentstagedirectionsprintedtheinscript.ThePSMdoesnotneedtoreadeverysinglestagedirection,butallthosethatinformabetterunderstandingofthe

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playandcharacters.Thiswillbefairlyeasytofeeloutastheread-thruprogresses.Youshouldtrytogetatimingonthefirstreadthru–thiswillinformeveryoneoftheapproximaterunningtimeoftheproduction.

Youshouldtakenotesduringthetableworksessions.Evenifthedirectordoesnotneedthesedetailedactingnotes,bereadytowritedownquestionsthatarisefromthereadingthatwillaffectyourwork(props,costumechanges,scenechanges,etc.)

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ChapterFive:TheStageManagementBook

AsaPSM,youwillberequiredtocreateastagemanagementbook(alsocalleda“promptbook”)foryourproduction.Thisbookisvitaltotheproductionprocess,andincludesallthepaperworkandinformationyouwillneedthroughouttheentireprocess.Theeasiestwaytoorganize/createabookistouseathree-ringbinderandhavedividedsectionsforeachseparatecategoryofinformation.Youwillbeaskedtoremovepages(orhavetoaddnewones)constantly,sobepreparedtokeeptrackofallofyourdocuments!Itisabsolutelykeytokeepthisbookneat!

TheStageManagerBookshouldcontain:

• Anykeys(tothemainoffice,soundequipmentetc)• Notesfrommeetings• CharacterSceneBreakdown• ContactSheet• Propslists• RehearsalReports• MasterCalendar• Acopyofthegroundplanandminiatures• Ablockingkey• Conflictsheet• TheMasterScript• LineNotesSheets• CostumePlot• Pre-setlists

ProductionMeetingNotes:Thesenotesareimportanttohaveonhand,becausetheylistanychangesorupdatesmadebytheproductionteam,andthedirectormaycalluponthemduringrehearsalsorrefertopastnotesinsubsequentproductionmeetings.Theyarealsohelpfultohaveonhandwhenmeetingwiththepropertiesorcostumemasters.

PropsLists:Likeeverythingelse,thisdocumentshouldbedatedwitheachnewversion.Thedistinctionbetweenrehearsalandrealprop(orwhatwillactuallybeusedduringtheshow)isamajordistinctionthatneedstobeclearlyandaccuratelycommunicatedwiththepropertiesmasteranddirector,andthisformisagreattooltohelptrackthesedistinctions.Generally,thepropertiesmasterwillcreatethetableandthepropertiesmasterandtheSMswillcommunicate(usuallyviae-mail)tomakechanges.ThisisaprocessandWILLchangeoften,soeachnewdraftshouldbedated.

Groundplan:Thegroundplaniskeyforboththetapedownofthesetintherehearsalspaceaswellasahelpfulpageforblocking.Byhavingagroundplaninsert,youcanwriteblockingasitwouldbeonthestage;thesediagramscanbeveryhelpfulwhenyouneedtoclarifyblockingnotation(whichcangetconfusingwithalargestagemanagementteam).

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RehearsalReports:Propadditions,costumenotes,andanyotherchangeneedtobeclearlydocumentedhere,forwithoutcleardescription,confusioncanarise.Aftereachrehearsal,thesereportsshouldbedatedande-mailedtoeveryoneontheproductionteam,andthenprintedout,holepunched,andplacedintheSMbookforfuturereference.

TheMasterScript:Thiscopyofthescriptisthemasterlogofalloftheblockingfortheplay.Allblockingshouldbetakendowninpencil,asitcanchangeatanypoint.Thestagemanagementteammustallbecomfortableenoughwiththemasterscripttostandinforamissingactorifnecessary,sobesuretotrackanychanges!

TheTechScript:Likethemasterscript,thisversionisthePSM’sscriptusedtocalltheshow.Alllighting,sound,andothertechnicalcuesarelistedhere,butblockingtypicallyisnot.

LineNotesSheets:Oncetheactorsareoffbook,itisthestagemanagementteam’sjobtoensuretheyareonbooktosupplyacalledforline,andtodocumentanyvariationfromthescriptduringarehearsal.

CostumePlot:Abreakdownofcostumesforeachcharacterthattracksallchangesthroughouttheplay.ThisisgenerallyproducedbytheCostumeDesigner,butisavitaldocumentforthestagemanagementteamtohave,especiallyduringthetechprocess.

PresetList:Likethecostumeplot,theseliststrackpropandsetpiecesthroughouttheplay.Itisvitaltokeeptheseuptodate,andforthelisttoclearlytrackchangesinsidesandifanactor,SM,ormemberofrunningcrewmustmoveaproporsetpiecethroughouttheproduction.

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ChapterSix:BlockingRehearsals

Blockingorstagingrehearsalsfollowtablework,andarewherethestagemanagementteamwillworkthemajorityoftheirhours.Intherehearsalhall,thestagemanagementteamwillberesponsiblefortheorganizationandpresetofprops,costumes,andsetpieces,andwillunlessotherwisenotedassistwiththescenetransitions.Thestagemanagementteamwillberesponsibleforrecordingtherehearsalnotesandsendingthemouttotheproductionteam,aswellascontrollinganytechnologythatmaybeusedinthehall—suchasanipodorstereosystem.Inorderfortheblockingrehearsalstobegin,thefloorneedstobeaccuratelytapeddownfromthegroundplanprovidedbythesetdesigner.

REHEARSALPROTOCOLANDTHEPRODUCTIONSTAGEMANAGER’SRESPONSIBILITIES TapingtheRehearsalHallFloor

TheStageManagementteamisresponsiblefortapingthegroundplanofthesetontheflooroftherehearsalhall.Sheshouldconsultwiththedirectorregardingthedatebywhichthefloorshouldbetapedandhowyoushouldorientthegroundplanintherehearsalspace.Youwillneedagroundplan(asktheTD),ascalerule,somespiketape(again,theTD),alongtapemeasure(25’),andaframingsquare(sceneshop).Pleasenotethatthemethodsbelowarejustbasicsuggestions.Ifyouareatallconfused,don’tbeafraidtoaskforhelp–tapingthefloorisnotaneasyprocess,evenforseasonedSM’s.

§ Notethecenterlineandplasterlineonthedraftingofthegroundplan.Itshouldbeclearlymarked.(Dothiswithonecolor,anddonotrepeatthiscolor)

§ Measurethelengthofthecenterlinefromthebackwall(orbackoftheplayingspace)tothefrontofthestage.ClearlymarkyourCenter/Centerpoint.

§ Usingadifferentcoloroftape,andagainmeasuringfromthecenterlineandbackwall,markanyotherpermanentsetpieces(platforms,builtfurnituresuchasabar,etc.)Whenworkingwithstraightlines,itoftenworkstomarkpointsthen“connectthedots.”Doorsaretypicallymarkedwithadottedlineandwallswithasolidline.

§ Ifthereareanystepsontheset,distinguishthemwithanothertapecolorordottedlines.

§ Finally,ifitfitsintherehearsalhall,andagainmeasuringfromthecenterlineandbackwall,createthefrontofthestage.

• ForaThrustStage(audienceonthreesides)followtheinstructionsabove.• ForTheatreintheRound(audienceonfoursides),beginbytapingthe

boundariesofthestage.Measureinfromthesides.

Eachsetwillpresentdifferentchallengesintaping.Somehaveintricatenooks,otherscomplicatedcurves.So,takesometimeandfigureoutthemostefficientwaytogeteverythingthatisimportanttaped.Youwillnotneedtotapeoutfurniture,itwillbespikedduringtherehearsalprocessoncethedirectordeterminespositioning.

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MaterialsNeededforRehearsalTheStageManagementTeamshouldalwayshavethefollowingmaterialseasilyaccessibleatrehearsal:

• Thecompletepromptbook• Awatch–tokeeptime,callbreaks,etc.Irecommendastopwatchthatisnotyourphone.• Atleastoneextracleancopyofthescript• Extrasharpenedpencils(witherasers!)forcastandstagemanagementteam• Aruler• Hairrubberbands–ActorsandActresseswillneedtogettheirhairoutoftheirfaces• Allnecessaryrehearsalprops–theseshouldbestoredinthepropertystorageroomoffof

room100.• Properkeys• Enoughlinecorrectionsheetsforeachactortouse1-3.• Accesstoafirst-aidkitIfyoudonothavethesematerials,asktheProducerwhereyoucanfindthem.Set-upandClean-up

Thestagemanagementteamshouldarrive20-30minutespriortothestartofrehearsalonanygivennighttopreparetheroomforrehearsal.Dependingonthecomplexityoftheshow,youmayneedtoarriveearlier.

Yoursetupshouldinclude:• Sweepingthefloorifthereisanydebristhatmightbedangeroustoactorsmoving

aboutonthefloor• Puttingallrehearsalfurnitureinplaceforthescheduledscene• Preparingallrehearsalpropsforthescheduledscene• Presettingallrehearsalpropsbyplacingthemintheappropriateplaceonor

offstageforthescheduledscene

TheProductionStageManagerisresponsibleformakingsuretherehearsalspaceiscleanaftereachrehearsal-besuretocleananyitemsthatheldfoodorbeverages.

ManagingtheRehearsalHall

Theartisticelementsofrehearsalareunderthejurisdictionofthedirector.TheStageManagershouldrefrainfrominterjectingcommentsunlessexpresslyrequestedbythedirector.Eventhen,thestagemanagershouldusediscretion.Theorganizationalandlogisticelementsofrehearsalsbothonandoff-stagearethestagemanager’sresponsibility.

• Onstageo StageManagementisresponsibleformaintainingthesafetyofactors.Thispointcannot

bestressedenough.Youaretheactors’advocateintherehearsalprocess.§ TheSMteamshouldbefamiliarwiththelocationandcontentsofthefirstaid

kits.Thereisoneinthepropstorageroom,sceneshop,andthedressingrooms.

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§ TheSMteamshouldmakeactorsaware,priortothebeginningofrehearsal,whichsetpiecesaresafetostandon,siton,etc.,ascalledforintheplay.Ifanyinjurydoesoccur,themustbenotedintherehearsalreport.

§ TheSMteamshouldkeepactorsfromusingpropswhenonbreaks.Propsarenottoys.Agoodruletohaveistonottouchapropunlessyouuseit.

o StageManagementisresponsibleforpreparingthestageforthescenetheactorsareperforming.

§ StageManagementshouldhaverecordofpropandfurnituremovementandquicklyrestorethesettothedesiredcondition.

§ StageManagementshouldhavereadyaccesstoallpropsthatwillbeneededduringanight’srehearsal.

§ StageManagementshouldhavethenecessarymaterialstowashglasses,etcduringrehearsalifneeded.CunninghamandtheDukehavesinksinthegreenrooms.

• Off-stageo StageManagementmustcallanyactorwhois2minutesormorepasttheircall,unless

otherwiseinstructedbythedirector.Sheshouldleaveamessageiftheactordoesnotanswer.

o TheStageManagementteammustmaintainafocusedrehearsalenvironment.§ Thestagemanagementteammustprovideanexampleforthecastby

remainingfocusedatalltimes,andquietunlessperformingfunctionsofthejobthatrequireotherwise.

§ StageManagementmustkeepactors,crewmembersorobserversintherehearsalhallorhousequiet.Thisincludesmentioningatthetopofrehearsalsthatallcellphonesmustbeturnedoff.

o TheStageManagermuststayaheadofthegame,byanticipatingneeds.Ideally,arehearsalwillneverbehelduporhinderedbylogisticalneeds.

CallingBreaksandRehearsalEndings

ItistheStageManager’sresponsibilitytokeeptimeduringrehearsals.Thisincludes:• Beingsurerehearsalsstartontime.• Ifthedirectorisrepeatedlylateforrehearsals,theSMshouldbringittohis/herattentionin

aprivatemanner.Iftheproblemcontinues,itshouldbebroughttotheattentionoftheProducer.

• Notifyingthedirectorwhenthescheduleindicatesitistimetomoveon.Adirectormightwishtofinishwhats/hehasstartedatwhichpointitistheSM’sjobtodetermineiftheremainderoftheschedulecanbesalvagedthateveningorcreateaplantomovetheintendedworktoanotherrehearsal.Itisnotproductivetoarguewiththedirectorabouttheschedule.

• Callingtheappropriatebreakswithinrehearsalsandnotifyingthedirectorwhenyouhavereachedtheendofday.o Checkwithyourdirectortoseehowtheywouldlikebreakscalled–5minutesevery55

minutesor10minutesevery80minutes(theseareAEAguidelines).Also,checkwithyourdirectoraboutwhetherornottheywouldlikeawarningaboutwhenbreakiscoming.

o TheStageManagerisalsoresponsibleforcallingallactorsbackfrombreaksontime.Ifthereareactorsoutoftherehearsalhall,aStageManagerorrehearsalassistantshould

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rounduptheactorsintimetoresumepromptlyattheendofthebreak.Whenthebreakisover,simplycall,“we’reback.”

DailyRehearsalNotes

TheStageManagerisresponsiblefortakingdetailednotesduringrehearsals.Thenotesshouldincludethecategoriesnotedinthetemplateandshouldbeasspecificaspossible.Thinkaboutyourlanguageandcommunicateinaneffectiveanddiplomaticmanner.

• Whenpossible,givedimensionswhentalkingaboutphysicalstructures.• ThePSMshouldconsultwiththedirectorattheendofrehearsalorduringabreakregarding

anyunclearnotes.• Phrasethingsasquestionsorrequests,ratherthandemands.• Whenspeakingaboutcostumesorprops,giveasmuchdetailaspossible.

DailyRehearsalNotesshouldbesentoutviaemaileacheveningafterrehearsal–itisagoodideatoaskanothermemberoftheSMteamtocheckthemtoensurethatnothingwasmissed.Itisimportanttosendthemdirectlyafterrehearsalsothattheproductionteamisabletoworkonthemduringtheworkday.Theyshouldbesenttotheentireproductionteam,butnotthecast.

TechnicalNeedsDuringRehearsals

WhilethelightingandsounddesignareultimatelynotunderthejurisdictionoftheProductionStageManager(excepttocallcuesduringtheperformance)–thestagemanagementteammayhavetoattendtoprovisionallightingandsoundneedsduringrehearsals.TheSMteamshouldfamiliarizethemselveswiththelightingsystemintherehearsalspace.IfsoundisprovidedbytheSoundDesigner,theSMteamshouldsecureuseofaplaybacksystem.

AccidentsandotheremergenciesAccidentsoccasionallyhappeninarehearsal.Shouldsomeonebecomeinjuredinarehearsal,pleaseletafacultyorstaffpersonknowimmediately.Ifthereisnotafacultyorstaffmemberintherehearsalhall(whichmaybethecaseifthedirectorisaguestorastudent),findoneinthebuildingorcalloneofthemathome.Onceitisclearthattheinjuredpersonisoutofdanger,theSMshouldfilloutanaccidentreport.Thisreportshouldbefilledoutregardlessofwhetherthereisafacultyorstaffpersonintheroom.Anaccidentreportwillkeeparecordofwhathappenedandhowithappened.Thisisnecessaryforthecollege’sinsurancepolicy,whichwillcoveranymedicalcostsincurredbytheinjury.AfirstaidkitislocatedintheBarberdressingrooms.ItisagoodideatocheckitbeforerehearsalsbeginandlettheProducerknowifanyofthesuppliesarelow.

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ChapterSeven:RunThroughandGettingClosertothePerformance

Astheperformancedatesgetcloser,rehearsalswillshifttorun-throughs.Atthispoint,theactorsaregenerallyrequiredtobeoffbook,requiringtheSMteamtokeeptrackoflinesmissed.Therehearsalassistantcanbehelpfulatthistime,asrunthroughoftenrequiresomeonetowatchblocking,someonetotakenotes,someonetobeonbook,andsomeonetohelpwiththescenetransitions.Atthispoint,yourpresetlistswillbecomeyourbestfriends.

Off-BookRehearsalsOncetheactorsareoff-book,youwillneedsomeonetobeonbookconsistently.Thisrequiresfocusandcommitment.

• Beingon-bookrequires:o Followingcloselyalonginthescript.o Callinglinesquicklyandloudlywithnolinereadingo Alineshouldnotbegivenuntilitisrequestedbytheactor

• Whoeverisonbook(whetherastagemanagerorarehearsalassistant)mustalsotakelinenotesforeachactoroncehehasmemorizedhislinesusingthetemplateprovided.

Run-Thrus

Atvariouspointsduringtherehearsalprocess,thedirectorwillschedulearun-thruoftheshow.Fortheserehearsals,theSMteammust:

• Besureallpropsavailablearesetforthetopoftheshow.• Timeeachactoftheshow• Scheduleasmanyassistantsaspossibleasrun-thruswillrequiremorehands.• Takenoteofanychallengesthatwillneedattentionduringperformances.

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ChapterEight:PROPSANDCOSTUMES

EachMainstageandSecondStageTheatreDepartmentproductionwillhave,ataminimum,apropmasterandacostumedesigner.Asthestagemanager,youwillassistbothofthesedepartmentbycommunicatingimportantproductioninformationtothemandschedulingtimeswhenthesepersonnelcanmeetwithactors.ItusuallyworksbesttoassignanASMtopropsandcostumes.TheASMcanmanagespecificcommunication,scheduling,andforms.

PROPSPropsrunthegamutfromlargepiecesoffurnituretosmallitemsanactorusesonstagelikealighter,aglass,orapieceoffood.Inadvanceoffirstrehearsal,thepropsmasterwillcompileaninitiallistofpropsandshareitwiththeSMteamandthedirector.Everytimeanewpropismentionedoraddedinrehearsal,itshouldbeaddedtotheSMteamcopyofthelistANDincludedinthedailyrehearsalreport. PROPLIST

Thepropmasterwillmaintainadetailedproplist.Everytimeanewpropisaddedinrehearsal,theSMshouldaddittotheircopyofthepropslistandnoteitintherehearsalreport.

Propscanbeusedforrehearsalonly,forperformanceonly,orboth.Thepropsmasterwillproviderehearsalprops,buttheSMteamneedstocreatealistofrehearsalpropsneeded.Mostofthesepropswilllikelynotbeusedfortheactualperformances.

Ofteninrehearsal,thedirectororactorswillfindthatapropdoesnotwork.Wheneverthisisthecase,makesuretoletthepropmasterknowthroughtherehearsalnotes.Thoroughlyexplainwhythepropdoesnotworkandwhatneedstobechanged–thisisoneofthecaseswhenitisespeciallyimportanttopracticeyourdiplomacy.

PROPMEETINGSThepropsdepartmentwillbeatproductionmeetings.Thesemeetingsareagoodtimetodiscussspecificissues.Itisagoodpolicytostopbytovisitthepropsmasterafewtimesaweekincasetherearenotesthatneedtobeclarifiedorspecificrehearsalneedsthatareimmediate.Facetofacemeetings,withthepropsonhand,arealwaysbetterthanemailandwilloftensavealotoftime.

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PROPSSECTIONOFREHEARSALNOTESThepropmastermaynotseearehearsaluntilthedesignerrunthrough.Forthisreason,heorshemayhavenoideahowspecificpropsareused.Isthepropthrown?Jumpedon?Doesitneedtobeacertaincolorortexture?Doesitneedtolookoldornew?Isiteaten?Allofthisinformationshouldbeprovidedthroughrehearsalnotes.Astheplaytakesshape,propswilltakeonnewdutiesandstresses.Allofthisshouldbenotedontherehearsalnotessothatthepropmastercanbeprepared.

PROPORCOSTUME?Somepropscrossthelinewithcostumes.Anexamplemightbeahandbagthatacharacterusesthroughoutaplay,orawalkingstick.Bothmightbeconsideredcostumesorprops.ForourpurposesatDavidsonCollege,ifapropisanarticleofclothingoranaccessory,thecostumedesignershalleitherhelpselectitorpullseveraloptionsfromthecostumestock.

COSTUMESEachproductionwillhaveaCostumeDesignerandinmostcases,thatdesignerisaguestartist.Heorshewon’tworkattheCollegeorevenresideinDavidson.Forthisreason,clearcommunicationswiththecostumedesignerisoftheutmostimportance.TheASMwillbeinchargeofcoordinatingfittingswiththedesigneranddisseminatingthatscheduletothecast.

FITTINGSThroughouttherehearsalprocess,thecostumedesignerwillneedtoseethecastmembersforcostumefittings.Betweeneachcastmember’sconflictsandrehearsalschedule,thesefittingscanbeverydifficulttoschedule.TheASMmustworkwiththedesignerandthedirectortoschedulethesefittings.Someimportantthingstoconsiderwhenschedulingfittings:

• Doesthedirectorwanttobethere?Ifso,thefittingsneedtobescheduledwhenthereisnotrehearsal.

• Howlongdoesthecostumedesignerneedwitheachactor?Dependingonthetypeoffitting,thedesignermightwantanactorforfiveminutes(totryonahatorapairofshoes)orupwardsofanhour(tofitseveralcostumesortopinanelaboratecostume)

• Actorsneedtohaveatleast24hoursnoticeoffittings.Makesurethatthecostumedesignerisawareofthissothathe/sheplansinadvance.

• Oncefittingsarescheduled,actorsneedtobeinformedaboutthem.Dosointhefollowingways:

o Postafittingscheduleonthecallboardo Sendthefittingscheduletoallaffectedactorsbyemail

• TheASMshouldplantobeatthefittingsunlessthereisawardrobeassistantinplace.Atthefittings,theASMcan

o Callactorswhoarelateo Takenotesforthedesignero Keepanearoutforcostumeissuesthatwillaffectrehearsalorperformance

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Actorswillneedtoberemindedbystagemanagementandbythedirectorthatfittingsarerequired.Oftenthedesignerisdrivingquiteadistancetodothefittingsandtheycannotbere-schedule.

REHEARSALCOSTUMEPIECES

Formostproductions,therewillbecostumepiecesthatneedtobeusedinrehearsal,specificallyifthecostumepiecesaffecttheactor’smovementatall.Thesemightbepiecessuchashigh-heeledshoes,alongskirtorperiodpiecessuchasacorsetorpanniers.

Beforerehearsalsbegin,thedirectorandthestagemanagementteamshouldconsultwiththecostumedesigneraboutwhatrehearsalcostumepieceswillbeneededinrehearsal.Thecostumedesignerisresponsibleforfindingthesepiecesunlesshe/shegivespermissiontostagemanagementtolocatethem.Oncethepiecesarelocated,theyshouldbestoredintherehearsalhallforeasyaccess.Youwillneedtoinformtheactorsthatthepiecesareavailableforuseandremindthemtousetheminrehearsal.Sometimesactorsshouldbringtheirownrehearsalcostumessuchasshoes,skirtsorsuitcoats.Newordifferentrehearsalpiecescanberequestedintherehearsalnotes.

COSTUMESECTIONOFREHEARSALREPORT

Duringtherehearsalperiod,therehearsalreportistheprimarymeansofcommunicationbetweenthecostumedesignerandtherestoftheproductionteam.Anycostumerelatedquestionsorissuesthatariseinrehearsalshouldbedocumentedhereoranyadditionstocostumesthatarerequestedbythedirector.Anythingthatwillaffectcostumesneedstobecommunicatedthroughthenotesandmightincludeinformationaboutthemovementoftheactors(ex.crawlingonthefloorortumbling)orwhetherornotacostumepieceistobeusedacertainway(ex.needsapocketorahood,etc.).

QUICKCHANGESAquickchangeisacostumechangethathappensinaveryshortperiodoftimeandtypically,willnotallowtheactortoreturntohis/herdressingroom.Thereisnohardandfastruleforwhatconstitutesaquickchange.Sometimeswhatmayseemlikeplentyoftimeinthescriptmaybeverylittletimedependingontheextentofthechangeandthepaceoftheplay.

Bythethirdweekofrehearsal,stagemanagementandthecostumedesignershouldidentifypossiblequickchanges.TheASMshouldmakealistofquickchangesandnotethefollowing:

• Whatpageofthescriptthechangeison• Whatcostumetheactorischanginginto• Wheretheactorexitsforthechangeandwherehe/shere-enters

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• Theexactamountoftimebetweenthecharacter’sexitandre-entrance

Allofthisinformationwillhelptheproductionteamdetermineifaquick-changeboothisnecessaryandwhereitshouldbeplaced,howthecostume(s)mustberiggedinordertomakethechangehappen,andwhetheranassistantshouldbebackstagetohelptheactorwiththechange.

COSTUMEPLOT

Acostumeplotisacomprehensivelistofcostumepiecesforeachactorintheproduction.Thecostumedesignerwillbeinchargeofgeneratingthislist.TheASMshouldhaveacopyofthislistandbefamiliarwithit.

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ChapterNine:TechRehearsals

TechweekisarguablythemostexcitingtimefortheProductionStageManager.Bitbybit,theshowbecomesyourstorun,andthefruitionoftheartisticvisionisentrustedtoyou.ThetechnicalrehearsalsareverydifferentfromtherehearsalstowhichtheSMteamhasbecomeaccustomed,andrequirepatienceandagreatdealofmulti-tasking.

Duringtech,eachdesignerandthedirectoristryingtomakehisorherpieceofthepuzzlefitperfectlyintoplace.Meanwhile,theactorsaredoingtheirbesttoperform,andthePSMistryingtolearntocalltheshow.Thekeyforeverystagemanager:relax.Keepthecastinformedandfocused,callthecues,staylevelheadedandcalm,andkeepyoursenseofhumor.Remembertostayonheadsetwheneverrehearsalisunderway.Ifyouaregoingoffheadset,announceitonyourmicrophone.

WhatHappensatTech(InBrief)Attechrehearsals,thefullcrewrunstheshowforthefirsttime.Thereisoftenagooddealofstoppingandstartingascuesarechangedoraltered.ThePSMbeginstocallthecuestheyreceivedduringthepapertech,perfectingtimingandmakingalterations.Thedirectorismakingnotesaboutwhatdoesanddoesnotworkforher.Thelightingdesignerismakingchangestocues.Thesounddesignersetsandchangeslevelsforthesoundcues.It’sexciting,it’sfun,andit’sverybusy.Anotheraddedlayeroftechismeeting,training,andintegratingthecrewintotheprocess.

TheChangingRoleofthePSMandASMs

DuringTech,thePSMbeginstogainresponsibilityforthetechnicalrunningoftheshow,andseeingthattheartisticvisionoftheproductionteamisupheldinproduction–thiswillprimarilybedonefromthefrontofthehouse.TheASMbecomesthelineofcommunicationtothebackstageworkingsoftheproductionisresponsibleforhandlingallbackstageaffairs.Ifthereisanysortofproblem,theASMshouldnotifythePSMimmediately.

PRIORTOYOURFIRSTTECHONSTAGEBeforeyoubegintechrehearsals,thestagemanagementteamshouldpreparethespacefortech.Likely,thesethasalreadybeenloadedinandyourcasthasalreadyhadtheopportunitytospacetheshowontheset.Thespacingrehearsalsaresometimesagoodopportunitytogetsomeofthebackstagetasksaccomplishedfortech.Thingstoconsiderinclude:

• Setupofpropstableso Coverinbrowncraftpapero Setaspaceforeachprop–canbeoutlinedwithMarkerorwithtape

• Setupquickchangebooths• Organizeyourbackstageareaandsetplacesforprops/furniturethatwillnotfitonapropstable

youmightconsidercreatingboxesonthefloorfortheseitems• Ensurethatthereisenoughlightingbackstage• Transferanyspikesfromtherehearsalhalltostage(ifable,thisshouldbedonebeforespacing

begins)

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• Ensurethatyourbackstageareaissafe–thatthereareclearpathsforyouractorsandcrewtoeasilyandsafelymoveaboutthebackstagearea

• CrewMeetingo ThismeetingcanbeheldpriortothesafetyinstructionfromtheTDinthetheatreo Givethecrewclearinstructionsabouttheirjobsandwhytheyareimportanttothe

processo Givethemabriefoverviewoftechandhowyouexpectthemtoworkwithinthat

process.o Giveoutproductionassignments

§ Theseshouldbedeterminedaheadoftimeandifcrewmembersareworkingbackstage,theirdutiesshouldbeclearlyoutlinedforthemontherunsheets

PAPERTECHIdeally,PaperTechiswhentheProductionStageManager,director,lightingdesigner,sounddesigner,andthetechnicaldirectormeet,andalllight,sound,sceneryandflycuesaretransferredtothePSM’spromptbook.Ifforsomereason,allofthesepartiesareunabletogettogetheratonetimeinthesameroom,itisthePSM’sjobtogetthecuesandgetthemintothebook.ItisvitalthatthePSM’sbookbeproperlypreparedforthistransfer.

PreparingtheBookInordertopreparethepromptbookforcues,theProductionStageManagermust:• Makesureallblockingislegibleandononesideofthetextonly.• Eliminateanyotherstraymarksonthescriptthatmightcauseconfusion.• Orhaveanewblankscriptcreated.

CueNotation• AllcuesshouldbewritteninPENCIL.Manywillchangeoverthecourseoftechrehearsals.• Lightcuesshouldbenotedas,LQ1,LQ2,LQ3…• Soundcuescanbegivenletters,orsimplynotedasSQ1(SQA)• SceneryandFlycuescanbedesignatedasthestagemanagerseesfit.Somechooseto

beginnumberingscenerycuesat200orflycuesat500.Othersfindthatconfusing.Ifthereareonlyafewsuchcues,itoftenworkstojustassignnumbersorletters.**Itmaybebesttocallthesesortsofcuesbyname.Example:FSBOUTGO.Or,CurtainGO.

• Whenyouarewritingthecuesinthebook,itisimportanttoalwaysincludea“when”,thecuetype,thecuenumberorletterandifyoufeelyouneedtodenoteit,theword“GO”

• Somepeoplechoosetocolorcodetheircuesbytype,justbesurethatitiseasytoreadandunderstand–thegoalofyourbookisthatanyonecanpickituptocallfromitifnecessary

BytheendofPaperTech,theProductionStageManagershouldhaveallcuesthatneedtobecalledduringtheTechrehearsal.Withoutadoubt,cueswillbeadded,removed,moved,andchangedoverthecourseofthefollowingdays.Alwayshavepencilsanderasers,andbepreparedforafloodofinformation.

DRYTECHDryTechisthenamegiventothetechnicalrehearsalwitheveryoneEXCEPTtheactors(unlesstheactorsarethestagehandsfortheproduction).Sometimesadrytechwillnotbenecessary

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(orproductive)ifmanyofthesceneshiftsareactormotivatedorbasedonthetimingofthestageaction.

Whatdowedoduringdrytech?DryTechtakesvariousformsdependingonthedirectorandonthetechnicaldemandsoftheplay.Herearesomethingsthatyoushouldconsideraddressingindrytech.

CoordinatescenechangesDifficultscenechangesaretypicallythereasontoholdadrytech.Anylargescenechangesshouldbethoughtthroughandchoreographedbeforetechbegins,butthisistheconcentratedtimetorehearsethem.Assignthemovementsofvariousitemstoyourbackstagecrew.TrainingThisisthetimetogettrainedonequipmentyouneedtouseandtomakesurethatthestagecrewgetstrained.Thiscanbeanythingfromflylinestoheadsetstomicrophonestoautomationstations.RepetitionOneofthebenefitsofdrytechisthattheactorsaremissing.Thisrehearsalisentirelyaboutthetechnicalaspects.Nowisthetimetorehearsecomplicatedscenechangesandcues.Don’tbeafraidtoaskforclarification,toaskforsomethingtoberepeated,toaskforhelp.Theplayandallofitsmachinationswillevolveoverthetechperiod,butnowisthetimeforyoutobecomecomfortablewiththeequipment,thesurroundings,andyournewandgreaterresponsibilities.Callingcues,settinglevels,etc.Duringdrytech,thePSMwillhavetheopportunitytocallcues.Thisisaskillthattakessometimetolearnandevenmoretimetomaster.Don’thesitatetoaskquestions.Oftenduringdrytechcueswillbecalledoverandoveragain.Thingswillmoveslowly.Beprepared.CallingCues–acrashcourseAtPaperTechanumberorletterwasassignedtoeachcue.Theseshouldbenotedclearlyinthepromptbook.Cuesarecalledasfollows:• Approximately1/4pagepriortothecue,theProductionStageManagergivesastandby(ex.

“Lightcue14-standby”)• Therecipientofthestandbymustconfirmbygivingacallback(“Lights”or“LightsStanding”)• TheProductionStageManagerthencalls“Lightcue14–GO”whenthecueistobe

executed.• Ifcuesaregrouped,theymaybecalledtogether(ex.Lightcue4,soundcueB,andFlycue2

–Standby/GO.)• Ifcuesoccurinrapidsuccession,theirstandbycanbecalledtogether,ex.Lightcues2-4and

SoundcuesB-Dstandby,buteachcuereceivesitsownGO.

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• TheProductionStageManagermayalsohavetocuethebackstagecrewtopresetitemssuchasfogmachines,etc.

**Callingashowcanbeverycomplicated.Findingthetimingisveryimportant,butrememberthatyouwon’tbeabletodothisperfectlyontheveryfirsttry.Besurethatallofyourcuesareclearlyindicated,andthatifyouneedtocallmultiplecuesatoncethatyouwalkthroughthesecomplicatedmomentswitheveryonewhoisinvolved.

Keepinmindthattheword“GO”isapowerfuloneandtryhardnottouseitunlessyouareintendingtostartacueinmotion.

WETTECHForthestagemanagementteam,dryandwettechsareverysimilar,butthewettechaddstheactors.

Priortoanywettech,theTDwillinstructthecastonthesafetyproceduresandanyspecificsethazardsthatthecastshouldbeawareof.Ifanyofthecasthastoenterthroughthehouseoverthecourseoftheplay,itistheSMteam’sresponsibilitytoshowthemtheproperproceduretodoso.

IntheDuke,absolutelyNOfoodordrinkisallowedanywherebutthegreenroom.IntheBarber,nofoodordrinksareallowedontherisers.Pleasestayawareofthisandkeepthisruleenforced.

Itisimportanttoremindyouractorsoftechprotocolbeforetechbegins.Youmightaskyourdirectorforafewminutesinthelastfullcastrehearsalbeforeyoustarttech.Itisalsoagoodideatoattachthesethoughtstoapre-techemailtoyourcast.

• Theactorsshouldfeelfreetobringworktododuringdowntimes.• Actorsshouldwearashirtthatapproximatesthecoloroftheircostume.Ifthatisnotpossible,

undernocircumstancesshouldtheywearwhite.• Actorsshouldalwaysbewithinearshotofastagemanager.Techrequiresjumpingbackand

forthattimes,andtrackingdownactorstakesupmoretimeanddelaystheprocess.• Actorsshouldstayquietwhenoffstage.• Actorswillbeaskedtostopandstartfrequently.If“HoldPlease!”iscalled,theyshouldhold

immediately.Theyshouldnotresumeuntilgivenspecificinstruction.Thisiswhenadjustmentsarebeingmade.InstructthecasttonotcontinueormoveonuntilpromptedbythePSM.Itisalsobestpracticetogivetheactorsanexplanationastowhatisbeingfixedandtoletthemknowiftheyneedtoholdtheirpositionsonstageoriftheycanrelaxuntilyouarereadytomoveon(“Pleasestaywhereyouare,weareadjustingalightcue.”)ManagingtheCastDuringTechOncegiventheaboveinformation,castsaretypicallyhappytooblige.However,itisimportantthatthecastremainquietandfocusedasthetechprocessprogresses.Thestagemanagementteamshouldenforcethis.Ifyouneedstafforfacultytostepinandspeaktoparticularoffendingactors,justask.Ifyouareclearandfocusedandmaintainacalmandcontrolledenvironment,yourcastwillfollowyourlead.

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CallingBreaksDuringtech,itisagoodideatowritedownthestarttimeofeachpartofrehearsalandwhattimeis80minuteslater.Asabreaktimeapproaches,notifythedirector.He/shemaywanttobreakearlyratherthanbreakinthemiddleofacomplicatedtechnicalmoment.Makesurethatyoutakeabreakyourself!Youmustbebackinyourplacebeforetherestofthecastandcrew,butthisdoesnotmeanyoushouldn’ttakeabreak.

TECHNOTESOnceWetTechbegins,thenotesprocesschanges.Theproductionteammeetsfornotesfollowingtheendofeachtechrehearsal.TheProducerrunsthisnotessession,andeachdepartmentiscalledontogivenotes,askquestions,etc.Overthecourseoftherehearsal,thePSMandtheASMsshouldtakenotesonanyquestions,complications,orneedsthathavearisen.Theycansharetheappropriatenoteswiththeproductionteam.TechnotesarewrittenupanddistributedbytheProducer.Tips:

-Haveplentyofspiketapeonhand.Theactorswillhelpwithplacement.-Haveplentyofglowtapeonhand.Safetyisourfirstconcern.-Havecleanscriptsandplentyofpencils-Rememberheadsetetiquette.Theheadsetisforshowbusinessonly.OutsideofthePSM,noone’sheadsetmicshouldbeonunlessyouneedtospeaktotherestoftheteamabouttheshow.-Ifyoumustgooffofyourheadsetforanyreason,announcethisonmic

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ChapterTen:DressRehearsalandPerformances

DRESSREHEARSALS:Adressrehearsalwillserveasyourfirstnon-stoprunbeforeopeningnight.Atthispoint,theshowshouldhavebeenfullyteched,andcostumesadded.Quickchangesshouldbetrackedbynow,butdon’tworryifthetimingisn’texactyet.Belowisanexplanationofhowtorunashow.Whilethisisrelatedtothedressrehearsals,thisisthesameprocedureyoucanuseforactualperformances.

PRE-SHOW Asfarasyouareable,theProductionStageManagershouldrunadressrehearsalasthoughitwereaperformance.Dressrehearsalscomedirectlyaftertech.Unlikethetechprocess,adressrunshouldnotstop.Ifaproblemoccurs,thecrewshouldmakeanote,butmoveon,anddealwiththeissueafter.Theexceptiontothisruleisiftheproblemisasafetyconcern,thenitshouldbeaddressedimmediately.

TheCast• CallTimeandCheck-In–Thedirectordeterminesthecast’scalltimefordressrehearsals

andperformances,butitisthePSM’sjobtocommunicatebothstartingandendingtimesfortheserehearsalstothecast.o Stagemanagementmustpostasign-insheetinapre-determinedlocationinornearthe

dressingrooms.(InDukeFamilyPerformanceHallthereisacallboardthatcanbeusedforthispurpose.)

o Allcastmembersmustinitialforthemselvesuponarrival.TheProductionStageManagermustimpressuponthemtheimportanceofcastmemberssigninginontimeandforthemselves.

o Thestagemanagementmustcallanycastmemberwhohasnotarrivedwithin10minutesaftertheircall-time.

• DressingRooms–Stagemanagementmustbesurethat:o Theactorshaveaccesstoallnecessarycostumepieces,make-upandhairsuppliesat

least15minutespriortotheactorcalltime.o TheProductionStageManagerandAssistantStageManagersareNOTresponsiblefor

doinganactor’shairormake-up.Usually,Theatre101providesstudentdressersforthispurpose.

o Itisvitalthatthecastberemindedtokeepthesespacesclean!• Pre-showNotifications

o TheProductionStageManagerwillnotifytheactorsonehourbeforeGO,remindingthemthattheyhave30minutestotakecareofstagebusinessbeforethehouseopens.

o TheProductionStageManagerwillaskactorstochecktheirpropsbetween35and40minutesbeforeGO.

o TheProductionStageManagerwillgivea“30minute”call,thirtyminutesbeforeGO.Actorsarenolongerpermittedon-stage.

o TheProductionStageManagerwillgivea“HouseisOpen”callwhenthestageisclearandtheHouseManagercanopenthehouseforseating.Thiscallmustgotoboththecastandthehousemanager.

o TheProductionStageManagerwillgivea“15minutestoplaces”call,seventeenminutespriortoGO.

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o TheProductionStageManagerwillgivea“5minutestoplaces”callbeforeproceedingtothebooth.

o TheProductionStageManagershouldgivea“places”calltwo(2)minutesbeforeGO.ShemayhavetogivethecallthroughtheASMs.Beforestartingtheshow,ASMsmustconfirmthatallactorsareatplacesandletthePSMknowthatallareready.

DutiesinRelationtotheBackstageCrew• Stagemanagementshouldpostacheck-inlistforallcrewmembers,aswell.• TheSMteamshouldcallanymemberswhohavenotarrivedby10minutesaftertheircall

time.• TheASMsshouldoverseethecrew’scompletionofthePre-ShowChecklist.• Priortotheopeningofthehouse,theProductionStageManagershoulddoawalk-thruof

theset,checkingtheplacementofallsetpiecesandprops,aswellascheckingthepropstablestobesurethatallpropsarepresent.

LightandSoundOperatorsTheProductionStageManagershouldbesurethatthelightandsoundboardoperatorsperformpre-showchecks.

• Lightboardoperatorsshouldcheckeachdimmertobesurealllightsareworking.Ifthereareanyproblems,heshouldnotifythePSMimmediately.Heshouldthenprogressthroughallcues,andpracticeanymanualorcomplicatedcues.o IfthereisaproblemthePSMshouldnotifythetechnicalsupervisorassignedtothe

productionthatevening.Thisistypicallythetechnicaldirector.• Soundboardoperatorsshouldtestallcuelevelsandspeakers.Pre-Showmusicshouldbe

started.• TheProductionStageManagermustensurethatthesechecksoccurpriortotheopening

ofthehouse.Thisallowsustimetofixanyproblems!

FrontofHousePoliciesThePSMshouldprovidetheFrontofHousestaffwiththefollowinginformation.

• Theprocedureforopeningthehouseandrestartingafterintermission.• Anyopeningspeeches,etc.• Seatinglatecomers–when,where,etc.,andwhowillprovideflashlightsforushers.

OpeningTheHouseTheProductionStageManagershouldnotifytheHouseManagerwhenallactorandcrewbusinessonstagehasbeencompletedandthehousecanbeopened.Allsuchbusinessshouldbecompleted5-10minutespriortothescheduledopeningofthehouse.

DuringtheShowJustbeforethebeginningoftheshow,theProductionStageManagergoestotheboothfromwhichshewillcalltheshow.Shemustgetconfirmationthatthehouseisclosedfromthehousemanagerbeforebeginningtheshow.

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TimingtheShowTheProductionStageManagermusttimetheshowduringeachdressrehearsalandperformance,frombeginningtoend,byindicatingthetimeontheclockforthefollowing:

• HouseOpen• ActIStart• IntermissionStart• IntermissionEnd• Curtain

PerformanceReport

Aftereachperformance,thePSMmustcompleteaperformancereport.Likearehearsalreport,aperformancereportincludessectionsforeachdepartment.Likearehearsalreport,thisdocumentwillleteveryoneknowwhatneedstobedonebeforethenextperformance.ThereportMUSTbedistributednolaterthan1houraftertheshow’send.

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ChapterTwelve:WORKINGWITHYOURSTAGECREWLikelyyouwillfirstmeetyourcrewonthedaythecrewmeeting.Thestagecrewisusuallymadeupoftwotypesofstudents:

1. Studentswhoarevolunteeringtheirtimetoserveonthestagecreworwhoarefulfillingatechnicalrequirementforthemajororminor(thisoftenincludesboardoperatorsandwardrobeheads)

2. StudentswhoserveonthestagecrewasapartoftheirTheatre101laboratoryrequirement.Bothofthesegroupscometotheproductionprocesswithvaryingdegreesofexperience.However,innearlyeverycase,eachcrewmemberwillhavetolearnanewskill,anewpieceofequipment,oranewprocess.GettingstartedYoushouldcontactyourcrewbyemailatleastfivedaysinadvanceandimpartthefollowinginformation:

• Theschedulefortechrehearsals,dressrehearsals,andperformances• Aremindertowearblackshirtsandpantsanddark,close-toedshoes• Notificationthatcrewmemberscanbringworktododuringdowntimes,because,while

theywillbekeptbusy,techcanmoveslowlyattimes.• Asalways,aninvitationtocontactyouwithanyquestionsorconcerns.

GettoknowthecrewTechisanenormouslystressfultimeforstagemanagementandtheproductionteam.However,makesuretotakeamomenttolearnthenamesofthepeopleonyourcrewandtointroduceyourself.Establishingafriendlyandrespectfulrapportwillmaketheentireprocessmorefunforeveryone.Youwillalsofindthatthecrewwilloftengoaboveandbeyondexpectationsiftheyknowyourespectthemasindividuals.Pleasedonotrefertoyourcrewmembersas101ers-eventhoughtheyaretheretofulfillaclassrequirement,everyonehasthesamegoalinmind:Agoodshowexperience.HavepatienceInmostcases,eachmemberofthecrewwillbedoinghis/herjobforthefirsttime,whetheritbethesoundandlightboard,aspotlight,acostumechange,orafly.Eachmemberwillneedtimetolearnthejobandtimetopractice.Somemaygraspitveryquickly;othersmayneedmoretime.Asastagemanager,youhavealreadylivedwiththisplayforatleastfourweeks.Thesecrewmembersmayneverhaveattendedarehearsal.Notonlywilltheyneedtolearntherhythmoftheshow,theywillbelearningspecificdutiesandhowtheyfitintothebigpicture.Patienceisessential.Itwillcometogether.DelegateNowthatyouhaveacrew,youneedtousethem.Nocrewmemberchosetoworkonthisproductionsos/hecouldsitaround.Delegateasmanyspecifictasksasyoucan.Ideally,oncetheshowgetsrunning,youshouldbeabletositatyourpostandconcentrateonwhatiscomingthroughonthe

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headset,preparedforanyemergenciesorsuddenchanges.Thingslikefurnituremoves,propfoodpreparation,costumechanges,handoffs,pre-sets,canbehandledbythecrew.IssuesparticulartotheTheatre101crewDoubleCrewsInordertokeepthelabrequirementtoamanageableamountoftime,theTheatre101backstagecrewsmaybedividedintotwogroups-CrewAandCrewB.Thetechnicaldirectorandproducerwilldeterminewhoservesonwhatcrewwellinadvance,basedonschedulesandpreferences.Occasionallytherewillbecrewmemberswhoneedtoswitchwiththeiroppositecrewcounterpart.Ifthisisthecase,theywillneedtogettheapprovaloftheirTHE101instructorandtheproducerandmustreportthechangetostagemanagement.Everymoveorchangeshouldberehearsedatleasttwicesothateachcrewmemberhastheopportunitytotryitandaskquestions.CommitmentCrewmembersknowtheircalltimesandshouldbereadytogoatthestartofrehearsal.Occasionallyconflictsandlatearrivalsmaybeapproved,particularlywhendealingwithathletesinthefall.Ifcrewmembersarenotinattendance,callthem,justasyouwouldanactorwhoislate.Shouldyounoticeanyspecificissueswithacrewmember’sattendance,commitment,orperformance,reportthistotheproducerandtheTHE101instructorimmediately.AttendanceandSchedulingAsnotedabove,thetechnicaldirectorandProducerwillschedulethecrewsandensurethattheircallsarewithinthelabhoursallottedforthem.Itisimportantthatthestagemanagementteamnotaddadditionalhourstothecallsofthe101crew.Shouldstagemanagementneedadditionalrehearsalwithcrewmembers,consulttheproducerorthetechnicaldirector.Theseindividualswillfindawaytoscheduleadditionaltime.AttireIngeneral,thestagecrewmustwearallblack(blackshirt,blackpants,blackshoes).Shoesmustbeclosedtoe.

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ChapterThirteen:TheStageManagementTeam

TheStageManagementteamshouldalwayshaveatleastoneAssistantStageManageralongwiththeProductionStageManager.AssistantStageManagersareamongtheProductionStageManager’sgreatestassets,andtherelationshipbetweenthemisvitalforthesuccessoftheproduction.WhiletheASMistheretoassistthePSM,theyhavetheirownsetofresponsibilitiesthatshouldbeclearattheoutsetoftheprocess.Insomecases,theexperienceleveloftheASMwilldictatethetaskstheyundertake,butregardless,allmembersoftheteammusttrustandrespecteachother.

NEGOTIATINGTHERELATIONSHIPBETWEENPSMANDASMSTheproductionstagemanagerisresponsibleintheend,forthewholeteam.Everyonewillstillworkasateam,buthavingeachstagemanagerspearpointamajorsectionoftheproductionisagoodwaytohandleacomplicatedproduction.HavingtheASMtakeonpropsand/orcostumesfreesupthePSMtofocusonscheduling,blocking,andalloftheotherproduction/paperworkconcerns.ItisimperativethatthePSMandtheASMremainincommunicationwithoneanotheratalltimestopresentaunitedandconsistentfrontfortherestoftheproductionteamandthecast.

THEASSISTANTSTAGEMANAGERS

ItisdifficulttopinpointanexactjobdescriptionforanASM,asitvariesfromshowtoshowanddependsonfactorssuchasthetechnicalneedsoftheshowandthenumberofASMsinvolved.Nonetheless,somecommonresponsibilitiesoftheASMwillbeenumeratedbelow.TheASMshouldalwaysconsultwiththePSMtoclarifyhis/herresponsibilitiesforaspecificproduction.

ASSISTINGOUTSIDEOFREHEARSALSTheASMwillbeaskedtotakeonadditionalresponsibilitiesoutsideoftherehearsalhall.Thesemayinclude,butarenotlimitedto,thefollowing:

Props

AnASMmayberesponsibleforpropmanagement.Heisnottoserveasthepropmaster,collectingfinalpropsfortheshow,butisresponsiblefor:

• Collectingallrehearsalprops• UpdatingPropLists• CreatingthePropPresetList• TrackingProps• CreatingPropTables• Takinginventoryonperishablepropsattheendofeachrehearsalandperformance(ex.Do

foodproductsneedtobereplaced?Doweneedmorecigarettes?)andseeingthattheyarestockedforthenextnight.

CostumesAnASMmaybeassignedtoserveasalogisticsassistantforthecostumer.Thesedutiesinclude:

• ContactingtheCostumerregardingfittings• Obtaininganysuppliesthecostumerneedsforfittings(measurementsheets,etc.)

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• Schedulingfittingsinaccordancewiththecostumedesignerandrehearsalschedule.• Beingpresentatallfittings• Serveaspointpersonforthecostumedesignerandliaisonbetweenthedirectorand

costumedesigner.• OverseethemoveofcostumestotheDukeFamilyPerformanceHall,whennecessary.

ASSISTINGINREHEARSALS

Intherehearsalhall,theASMwilltypicallyserveasassistanttotheProductionStageManager.Thetaskshemightperformwillvaryfromnighttonight,however,somedutiesremainconsistent.

TheASMmustalwaysarrive10-15minutespriortothestartofrehearsal,asdeterminedbythePSM,andhelpset-upthestage.

• TheASMmustremainattheendofrehearsaluntiltherehearsalhallisclean.• TheASMmustbeattentivetotherehearsalandthePSMatalltimes.Additionalrehearsal

dutiesmayinclude:o Resettingthestageduringrehearsalo Beingon-booko Takinglinenoteso Cleaningpropso Callinglateactorsorcrewmemberso RunningaCDplayero AnyotherrequestsofthePSMordirectoro ServingasPSMintheabsenceofthePSM

• TheASMmustreviewwiththePSMtheblockingnotationtobeusedfortheproduction.• TheASMmustdiligentlyattendtoblockingnotation,wheneverentrustedwiththePromptBook

(AmeetingmustoccurwiththeASMsandPSMregardingblockingnotationearlyonintherehearsalprocess.)

ALLSTAGEMANAGERSmustalwaysrespondpromptlytoemailsorvoicemailsfromthePSM,director,anddesigners.TECH,DRESS,ANDPRODUCTION

DuringtheTechprocessandbeyond,theASMbecomesthemanagerofbackstageaffairsasthePSMmovestotheboothtocalltheshowandmanagefromafar.TheASMsresponsibilitiesinclude:

Pre-Showresponsibilities• Checkingallpropstablestobesureallpropsarepresent• Preparingtheprops(unwrappingfood,burninghalfofacigarette,etc.)• Testingtheirheadsets• Presettingthesetpieces• Presettingprops• Completingtheshow-specificpre-showchecklist• Checkingthatallbackstagedressingareasarepreset

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Post-Showresponsibilities• Cleaningprops• Resettinganythingthatmustbereset• Properlystoringpropsandfurniture• Untanglingwiresofheadsets• TurningoffHeadsets• Completingshow-specificpost-showchecklist

ManagingBackstageAffairsUnlessotherwisedeterminedbythedirectorortechnicaldirector,theASMisresponsiblefor:

• Cueingallflyandscenerycues(takenonthePSM’sGO.)• Cueingactors(ifanentranceistakenonthePSM’sGO.)• BackstagetroubleshootinginconjunctionwiththePSMduringdressrehearsalsand

performances.• Maintainingtheappropriatebackstageenvironment–quiet,dark,focused,attentive,etc.

ManagingtheRunningCrew• TheASMleadstherunningcrewinallscenechanges.• TheASMshouldhelptheactorsandcrewunderstandandmaintainproperbackstage

decorum–quiet,attentive,prepared.

CommunicatingwiththeProductionStageManageroverHeadset• TheASMshouldnotengageinheadsetconversationunlessitisconfirmingacue,orgiving

neededinformationtothePSM.• TheASMshouldnotifythePSMimmediatelyofanyproblemsbackstage.• TheASMshouldrespondimmediatelytoaninstructiongivenbythePSMunlessdoingso

willcauseinjurytoanactororcrewmember.

Overall,theassistantstagemanagersandtheproductionstagemanagerarethepartofthesameteam.Themostsuccessfulproductionsarethosewithteamswhotrusteachother,andcommunicatequicklyandwithoutfearofmistakes.Worktogether,andtheprocesswillbemuchmoreenjoyableforallpartiesinvolved!

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ChapterFourteen:ProductionMeetings

ProductionMeetingsareanopportunityfortheentireproductionteamtoassembleanddiscusstheprogressoftheplay.Atthesemeetings,eachdepartmentisaskedtogiveanupdate.Multi-departmentissuesthathavecomeupinrehearsalnotescanbeaddressedandschedulescanbeconfirmed.Dependingonthesemesterandwhenthestagemanagementteamischosen,theproducermayrunthefirstcoupleofmeetings.Design/ConceptMeetingThismeetingmaytakeplacewellbeforethestagemanagementteamison-board.Thedesign/conceptmeetingusuallyhappensseveralmonthsbeforerehearsalsbegin.Thismeetingisanopportunityforthedesignteamtogetinaroomandhearthedirectortalkabouthis/hervisionfortheproduction.Thismeetingincludesthedirector,producerandtechnicaldirector,alongwiththeset,costume,andlightingdesigners.Notesfromthismeetingaretakenbytheproduceranddistributedtotheentireteam.Readingthenotesfromthismeetingshouldbeoneofthestagemanagers’firsttasks.Itwillhelpputyouonthesamepageastheotherproductionteammembers.Bi-WeeklyProductionMeetingsProductionmeetingsarescheduledforeveryotherweek.TheProducerschedulesallofthesemeetingswellinadvanceofthesemester.Theyareincludedontheproductiontimeline.Thefollowingpeopleareinvitedtobi-weeklyproductionmeetings:

• TheatreDepartmentChair• Director• StageManagementteam(PSMandASMs)• Producer• TechnicalDirector• Alldesigners(sound,set,lighting,andcostume)• PropsMasters• Also,thefollowingindividuals,iftheserolesarefilledintheproduction:choreographer,vocal

coach,wardrobeassistant,assistantdirector,dramaturgPostTechproductionnotesAttheendofeachtechnicalordressrehearsal,theproductionteamassemblesinthehousefornotes.Thisnotesessionisrunbytheproducer.Duringthatday’srehearsal,eachstagemanagershouldkeeparunninglistofquestionsorproblemsthatcanbebroughttothismeeting.Asintheweeklyproductionmeetings,eachdepartmentwillhaveanopportunitytogiveorsharenoteswiththegroup.Thenextday’sworkscheduleisalsodeterminedatthismeeting.Theproducerwillwritedownthenotesfromthesesessionsanddistributethemtothegroupbythefollowingmorning.

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ChapterFifteen:PostProductionandStrike

AftertherunoftheshowisovertheStageManagementteamhasafewmoreresponsibilitiestowhichtheymustattend.STRIKE

Atstrikethesetistakendown,propsarereturnedtotheirrightfulstoragelocation,technicalequipmentisdismantled,andlightsaretakendownundertheclosesupervisionofthetechnicaldirector.Witheveryoneinvolved,theprocesscanbecompletedinjustacoupleofhours.Thetechnicaldirectorwilloftentimessendoutane-mailbeforehand,detailingwhatcrewseachindividualpersonistoattendto.Foranyconcerns,youshoulddirectallquestionstohim.

**Hint:Besuretosendoutane-mailtothecastandcrewthenightbeforetobringstrikeclothes,i.e.towearclosetoedshoesoversandals,workclothes,etc.

WhoShouldBeThere• AllCastMembers(mandatory)• AllStageManagers(mandatory)• Othersasdeterminedbythetechnicaldirectoranddirector(costumer,etc.)TheStageManager’sRole• TheProductionStageManagermusttakeattendanceatStrikeandbesureallindividuals

requiredtoattendarepresent.• TheProductionStageManagershouldcallanyindividualswhoarenotpresent.• TheProductionStageManagershouldNOTallowanyonetoleaveuntilthetechnical

directorhasgrantedthatindividualpermission.• TheProductionStageManagershouldassistthetechnicaldirectorinorganizingpeopleand

delegating,whenrequested.

POST-MORTEMPost-Mortemisanopportunityforallindividualsinvolvedintheproduction’sprocesstodiscuss

theprocessitselfandofferconstructiverecommendationsforfutureproductions.Assuch,post-mortemisdividedintoseveralsectionsinordertofacilitateaproductiveandconstructiveenvironment.Theentireprocessisusuallyscheduledover90minutesasfollows.

• Director,designers,technicaldirector,stagemanagementteam–30minutes–todiscusstheproduction/stagemanagementteamprocess

• Alloftheaboveandcastmembers–30minutes–todiscusstheinteractionbetweencastandproduction/stagemanagementteam

• Allcastmembers,director–30minutes–todiscusstheaudition,rehearsalandperformanceprocessbetweenactors,crew,stagemanagementteam,productionteam,anddirector.

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ChapterSixteen:SpacesandStaffing

Dependingontheproduction,DavidsonCollegehasavarietyofperformanceandrehearsalspaces.

TheMainStage:ThisphrasereferstothetwodepartmentproductionsperformedannuallyintheDukeFamilyPerformanceHall.MainStageproductionshavethelargestproductionbudgetsoftheseasonandrelyonlargeraudiencesforticketsales.Theyalsohavethelongestrehearsalperiodofanydepartmentproject.

TheSecondStage:ThisphrasereferstothetwodepartmentproductionsperformedannuallyinTheBarberTheatre(excludingtheoneacts).ThesetwoplayshavemuchsmallerbudgetsthantheMainStageproductionsandhavetwoweeks’shorterrehearsaltime.

Cunningham:

• Room100:ThisspaceistypicallyusedastherehearsalspaceforthemainstageproductionsthatwilleventuallymoveovertotheDukeFamilyPerformanceHall.Thisroomcontainsabasiclightinggrid,soundsystem,andhasasetofmirrorsonthefrontoftheroom.Typically,thecurtainsaredrawnoverthesemirrors,andatableissetupatthefrontoftheroomforthestagemanagementteamtosetup.Thereisnofoodordrinkallowedinthisroom(withtheexceptionofbottledwater),andlikeanyofthespacesinCunningham,needstobesignedoutontheoutsidebulletinboard.

• TheBarber:Thisspaceistherehearsalandperformancespaceforthesecondstageproduction.Aflexspace,theriserscanbearrangedinavarietyofconfigurations,dependingontheshow.Thisspacehasafullcatwalk/grid,booth,andswingspace.Thesceneshopisnextdoor,asisthedressingrooms.Likeroom100,ittoomustbesignedoutbeforehand,andnofoodordrinkisallowedontherisersorseats.Theghostlightmustbeturnedonandallotherlightsoffattheendofarehearsal,andallpropsandsetpiecesshouldbereturnedtothepropsstoragecloset.

TheDukeFamilyPerformanceHall(DFPH):TheDukeistheperformancespaceforthemainstageproductions.Ithas3levelsofaudienceseeing,anorchestrapit,catwalks,flysystem,andislocatedintheStudentUnion.Thestagemanagementteamwillcommunicateoveraheadsetsystem.

DukeFamilyPerformanceHallTechnicalDirector-CurrentlyJimNash.ThispersonisanemployeeoftheCollegeUnionandisresponsiblefortheDFPHfacility.He/shemanagesthestaffforthatspace.Oneofhis/herstaffisinthetheatrewheneverwearerehearsing.Shouldafacilityorequipmentissuearise,theDukestaffaretheonestoapproach.

TheatreDepartmentTechnicalDirector-CurrentlyEvanKinsley.TheTechnicalDirectorbuildsthesceneryforallofthedepartmentshows.Healsomanagestheloadin,strike,andtechnicalrehearsalprocessinboththeDFPHandtheBarberTheatre.HemaintainstheequipmentinTheBarberTheatre.TheTechnicalDirectorisanexcellentresourceandapersontoconsultabouteverythingfromequipmenttocueingtosafetytopropstotapingtherehearsalhallfloor.

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TheatreDepartmentProducer–CurrentlyKarliHenderson.TheProducerisyourdirectsupervisorasanSM.Cometoherwithanyquestionthatyouhave.TheProduceroverseesthebudgetingprocessfortheproductions.Shealsomanagesthemarketing,contracting,andpersonnelhiringasrelatedtotheproductions.Sheisanexcellentresourceforyourquestionsregardingscheduling,callingcues,managingactorsandcrew,andanyotherissuesthatcomeupduringyourtimeasastagemanager.