Stage manager : the professional experience

Professional Gap 1

Learning the Hard Way 1

Human and Psychological Side 1

Objective and Intention of This Book 2

A Definition of Professional 3

Distinguishing Line 3

Most Important Work 4

Musical Play 4

Standard Stage Manager Titles and Their Abbreviations 4

ASM 4

Women SMs 5

A History of SMing 5

Professional Experience 5

Interviews 6

2. Anatomy of a Good Stage Manager 8

Practical Application 8

Qualities of a Good SM 10

Spirit of an SM 12

Right Stuff 12

Core of the Spirit 12

A Need for Perfection 13

Control 13

Anatomy of the ASM 13

Show Business: A Glamorous Business 14

Interviews 14

3. Stage Manager's Chain of Command List 16

Production Executives 17

Production Office Staff 19

Creators 19

Production Staff 20

Performing Artists and Actor's Equity 22

Technical Staff: Designers, Department Heads, Their Assistants, and Crewmembers 22

Shops and Vendors 23

Theatre, Performance Site, or Venue 23

In Review 24

4. Stage Manager for Hire: Seeking Work, Getting the Job, and Being Hired Again and Again 25

Networking 25

Building a Resume 25

Presentation of the Resume 25

Layout 25

Credits 26

One-Page Resumes 26

Slanting the Resume and Additional Credit Headings 26

Repetitive Credits 26

Absence of Dates 26

Further Experience 26

Optional Information 28

Establishing a Good Reputation 28

Good Word-of-Mouth 28

Interviewing for the Job 28

Gut Feeling 28

Controlling the Interview and the Outcome 28

Wanting the Job 29

First Impressions 29

Dressing the Part 29

Chit-Chat Part of the Interview 29

Other Side of Interviewing 29

Most Difficult Parts of Interviewing 30

Getting an Equity Card 30

Persistence, Paying Dues, Doing Your Best 30

Terms of the Contract 30

Negotiating 30

Personal Financial Planning, Budgeting, and Support for the SM 31

Unemployment Insurance Benefits 31

SM's Survival Kit 31

Professional Experience 31

Proud to Join the Ranks 31

Terminator Negotiator 32

That Gut Feeling 32

Interviews 33

5. Tools, Supplies, and Equipment 35

SM's Portable Office 35

SM's Console 35

SM's Bag 35

SM's Box 39

SM's Filing System 39

Other Items in the SM's Box 40

Today's Stage Manager 41

Electronic Equipment 41

Software 42

In Transition 42

Professional Experience 42

Well-Supplied SM 42

Log Book: Star Witness 43

6. Hard Copy: Charts, Plots, Plans, and Lists 44

Forms Defined 44

Scene/Character Tracking Chart 44

Our Imaginary Play 44

Beginning the Scene/Character Tracking Chart 45

A Refinement 45

Heading 46

Breaking Down the Play by Scenes 46

Subdivision of Scenes, or French Scenes 47

Naming or Tagging a Scene 47

Character/Actor-Actor/Character List 49

Sign-in Sheet 50

Rehearsal Sign-in Sheet and Performance Sign-in Sheet 50

Listing the Actors' Names on the Sign-in Sheet 51

Day Off While in Rehearsals 51

Performance Sign-in Sheet 51

Matinee Performances 51

Day Off When in Performance 51

Address Lists and Contact Sheet 51

Cast Address List and Staff Address List 51

Contact Sheet 52

Schedules 52

Block Calendar 52

Daily Schedule 54

SM's Personal Floor Plans 54

Starting with the Blueprints 55

SMs' Knowledge of the Set 55

From Blueprints to the Personal Floor Plans 57

Computer-Generated Floor Plans 57

SM's Personal Floor Plans for Annie Get Your Gun 58

Hello Jerry Personal Floor Plans 60

Personal Floor Plans for the One-Set Comedy, John and Mary 61

Lists 63

Schedule Reminder List 63

Industry Phone Numbers List 63

Correct Spelling of Names List 63

Prop List 64

Sound Lists 66

Body Mic Tracking Chart 70

Dressing Room Assignments List 70

Show Rundown or Running Order 70

Performance Running-Time Chart 71

Show Reports 73

Changes and Revisions 73

Hard Copy for Which the SM Is Not Responsible 74

7. Profiles and Working Relationships 75

Turning Inward 76

Three Parts of the Inner Self 76

Personal Belief Systems 76

Making Personal Change 77

Spiritual Self 77

Anger and Fear 77

A Lifetime Work-in-Progress 78

Ego 78

SM's Ego 78

Working with Ego 78

Issue of Control and Perfection 78

Dealing with Disagreement, Conflict, Confrontation 79

"You" Versus "I" 79

Art of Listening 79

Bringing Closure 79

Setting Limits, Boundaries, and Expectations 79

Power and Position of an SM 80

Profiles: Superiors, Peers, and Associates 80

Producer 80

Founder, General Manager, Executive Producer 81

Associate Producer 81

Company Manager 81

Production Secretary 82

Casting Director 82

Publicity: Press, Programs, and Photography 82

Office Staff 82

Author, Composer, and Lyricist 83

Director 83

Assistant Director 85

Music Director 85

Rehearsal Pianist 86

Music Arrangers: Vocal, Dance, Orchestration, and Copyist 86

Choreographer 86

Dance Captain and Swing Dancer 87

Performers 87

Children Performers 91

Actor's Equity 91

Designers 92

Technicians 92

Technical Director (TD) 94

Head Carpenter 95

Head Flyman or Head of the Rail 95

Head of Props (Propman, Prop Master, or Property Master) 95

Electrical Department (Lighting) 95

Sound Department and Head of Sound 96

I.A.T.S.E.: The Stagehand's Union 97

Costume/Wardrobe Department 97

Hair Department 98

Shops and Vendors 98

Performance Site and Their Personnel 98

Professional Experience 99

Personal Beliefs 100

A Central Dance Figure 100

Star Power 101

Baby June's Mom: Mamma Rose 101

Maintaining Artistic Integrity 102

Electrical Storm 103

8. Running Auditions 104

Equity Field Representative 104

Auditioning Staff 104

Types of Audition Calls 104

Open Call or Cattle Call 104

Auditioning by Appointment 105

Auditions for Musicals 105

Singing Auditions for a Role 105

Ensemble Auditions 105

Star and Lead Role Auditions 106

Actors' Representatives 106

Auditions for the Non-Equity Actor 106

Preparing for the Auditions 106

Becoming Familiar with the Script 106

Communicating with the Audition Site 106

Office Supplies 107

Directional Signs 108

Audition Instruction Sheet 108

Audition Sign-in Sheet 108

Choosing Scenes for the Audition 108

Audition Space 110

Dividing the Audition Space 110

Setting Up the Reception Area 110

Sign-in Table 110

Seating 110

Toilet Facilities and Drinking Water 110

Setting Up the Audition Area 110

Setup in a Theatre 110

Setup in an Audition Room 111

Quiet Please! Audition in Progress 111

SM's Art and Craft in Working the Audition Room 112

Serving the Actors 112

Reading the Scenes with Actors 113

Bringing Closure to the Audition 113

Your Best Sixteen Bars 113

A Second Time Around 113

SM as Time Keeper 114

Callback Auditions 114

Actors Getting a Callback 114

Spirit of Callback Auditions 115

Working the Callback Auditions 115

SMs Conducting the First Auditions 115

You Got the Job! 116

SM's Expressed Opinion 116

In Closing 116

Professional Experience 117

An Epic Audition 117

Serving the Director's Audition Needs 118

9. SM's Production Week 120

Homework 120

At the Production Office 120

On the First Day 121

Block Calendar 121

Key Information 121

Under the SM's Watchful Eyes 122

Production Meeting 122

Making Phone Calls and Creating the Address Lists 122

Personal Contact 122

Information Needed 123

Applying the Art of Listening 123

Contact Sheet 124

Contacting the Equity Field Representative 124

Settling in to a Calmer Pace 124

Scene/Character Tracking Chart 124

Character/Actor-Actor/Character List 124

SM's Personal Floor Plans 124

Completing the List of Hard Copy Work 125

Assembling and Distributing Packets of Information 125

Revisions of Information 125

Scripts 125

Distribution of Scripts 125

Script Copying 126

Paperback Play Book 126

Finishing the Production Week 126

Rehearsal Rooms 126

Taping the Rehearsal Room Floor 127

Rehearsal Props and Furniture 129

Equity Callboard 129

Finishing Touches on the Rehearsal Room 130

Professional Experience 130

Fritzie: A Lasting Impression 131

10. Rehearsals 133

First Day of Rehearsals 133

First Day Rehearsal Hall Setup 133

Setting Up for Equity 134

Setting Up the Social Amenities 134

Additional Setup 134

Arrival of the Cast 134

Equity Business Hour 135

Equity Business to Be Done 135

Attendance at the Equity Hour 135

SM's Formal Welcome 135

Costume Measurements 136

Eight-by-Ten Glossies and Brief Biographies 136

Enter the Producer, Director, and Star 136

Reading the Play 136

Breaks for the Cast 137

Director and Breaks 137

Stopwatch 137

Mid-Day Meal Break 137

After Mid-Day Break 138