A BRIEF GUIDE TO STAGE

MANAGEMENT
Gleanings from various sources

Contents
This little pamphlet distils various definitions of the role and activity of Stage
Managers in Theatre and other performance art forms and events

Whilst not intended to be comprehensive, it aims to be an overview, introduction,

training guide and checklist and covers:
Definitions, Role, Process, Duties, Responsibilities and Techniques

John Leventhall
January 2014
STAGE MANAGEMENT - DEFINITIONS
Every production you do, along with every director, set or costume designer / LX
designer and groups of actors you work with, will require different approaches.

Stage Management team connect people and departments for any production. It is
important that they have a broad understanding of all aspects of a production, including
administration, directing, designing, set building, stage mechanics, lighting & sound and
of course the main principle component is the play itself.

A Stage Manager has to be able to cope with every eventuality on a production with the
temperament and ability to get along with people in both the artistic and technical sides
of theatre, and to understand what they do.

Stage managers should be good planners and organisers, with a knack for multi-tasking,
prioritising and keeping calm under pressure and in a crisis. The work itself is not
glamorous, often involving long hours and fairly boring, repetitive tasks as well as being
physically demanding.

During the rehearsal period, the stage management team (often composed of 3 - a stage
manager, a deputy stage manager and an assistant stage manager) acts as the lynchpin
between the artistic process developing in the rehearsal room and the people physically
building, sewing, assembling and making the production outside of that rehearsal room.
Stage management are there to prevent ANYTHING from adversely affecting the
production. Attention to detail and good communication skills are essential here. Like a
spider sitting in the middle of its web, the stage manager or team should sit at the heart
of the production and be the first port of call for anything concerning the show for all
those involved in creating and running it.

The role of the stage manager is especially important to the director in rehearsals. Here
the director and the stage manager work side by side, with the stage manager recording
the director's decisions about blocking and notes for the actors, keeping track of
logistical and scheduling details and communicating what goes on in rehearsals to the
rest of the team. This enables the director to concentrate his or her full attention on
directing.

Once the show has opened, the stage management is responsible for the management
of each evening's performance. They ensure that the production continues to run with
all aspects of it kept as directed and designed. The DSM (Deputy Stage Manager) will also
generally cue the show, giving calls and ‘GOs’ to the actors and all departments, enabling
the changing of scenery, lighting and sound to be co-ordinated. The ASM will frequently
be 'running the wings', i.e. running other backstage aspects, particularly props.
This brief description gives an idea of the variety and responsibility of the job. The
company must trust their stage management team and they must be able to cope with
being the people with whom the buck stops. In a crisis, it must always be the stage
management that remain cool, keep their heads and cope with it; in a confrontation
situation stage management must calm, soothe and mediate.
STAGE MANAGEMENT - KEY RESPONSIBILITIES
Stage managers have several key responsibilities and tasks to perform in each phase of a
production, including
 scheduling and running rehearsals
 communicating the director's wishes to designers and crafts people
 coordinating the work of the stage crew
 calling cues and possibly actors' entrances during performance
 overseeing the entire show each time it is performed

In conjunction with the director, the stage manager determines the scheduling of all
rehearsals and makes sure everyone involved is notified of rehearsal times, meetings,
costume/wig fittings and coaching sessions. During the rehearsal phase, stage managers
also
 mark out the dimensions of the set on the floor of the rehearsal hall
 make sure rehearsal props and furnishings are available for the actors
 attend all rehearsals
 notify the designers and crafts people of changes made in rehearsal

In rehearsals the stage manager records all blocking, light, sound and set change cues, in
a master copy of the script called the prompt book. The information in the prompt book
also allows the stage manager to run the technical rehearsals, calling each technical cue
in turn to determine precisely how it needs to be timed to coordinate with the onstage
action.

The stage manager and the technical director also work out a smooth and efficient plan
for the stage crew to follow during set changes. Furniture and prop plans for
complicated sets are drawn up by the stage manager to show exactly where the
furniture and props are to be positioned on stage and sometimes in the wings.

Once the show opens, the director's work is essentially complete. Now it's the stage
manager's job to make sure that every aspect of the production runs just as the director
intended time after time, until the production closes.

Assistant Stage Managers are often needed in larger productions, the ASM is often
stationed just offstage to facilitate communication between the stage manager (who is
sometimes out in the house) and actors, as well as ensuring safety. The ASM often helps
with complex set changes, quick changes offstage, or preparing the stage for
performance.
STAGE MANAGEMENT – PROCESS (1)
Pre - Rehearsal

Provisional Props Lists (With DSM & ASM)

Rehearsal Props
Rehearsal Furniture
Sort out Scripts
Directions, maps to Rehearsal Room for cast etc

Rehearsals

Rehearsal Room bookings

Cast List
Mark up rehearsal room
Arrange catering and team comfort (e.g. space heating, toilets)
Propping & Props Meetings with Director, Designer and ASMs
Wardrobe Calls
Liaising with rehearsals daily
SM team meetings - SM, DSM, ASM
Get plans copied
Scene changes
Quick changes
Liaise daily with each department regarding rehearsal notes

Pre-Production Weeks

Props parade with Director & Designer

Check programme with Director before final print
Cue lights & cans request list to LX & Sound depts-consult with DSM
Position of Prompt Desk-consult with DSM, LX & Sound
Work out scene changes
Get props setting list from DSM
Attend rehearsals & run throughs

Plotting Session

Set scenes-furniture & relevant props for lighting as required

Be around the stage & available
As furniture gets set in position- mark it with coloured tape
Help ASM set up props table
Check headsets & cue lights are in position
STAGE MANAGEMENT – PROCESS (2)
Technical Rehearsal

SM is the controller and senior manager of the Tech.

The SM is the main point of call for all Tech Rehearsal progress.
Chaos tends to ensue without a strong and dictatorial control over the process and flow.
Liaise with director whilst running technical rehearsal
Ensure all appropriate cast and crew are called for Tech Rehearsal
Make sure stage & theatre is clean & tidy & ready for a technical rehearsal
Before half hour call - props check with ASM
At half - check that all actors are in (collect valuables and lock away)

Dress Rehearsals/Performances

Make sure stage is ready for performance

Props check with ASM
At half hour call check all actors & technical staff are in
At Half - When set, tell FOH for opening of house
At beginners check that beginners are in opening positions-tell DSM
Once FOH have given you clearance tell DSM to start show
At the end of the show
 Lock away valuables
 Check that actors & technical staff know following days call
 Do show report with DSM

After Dress Rehearsal and First Night/Preview

Make sure copy of all running lists are collected from all technical staff & put in book
LX plots, sound plots, ASM, SM, flys, crew, dressers
Send out programmes to credited people
Clear rehearsal room of props, furniture etc

End of Production

Make sure all borrowed or hired props are returned as soon as possible
Make sure all other props & furniture are returned to props department
Clear stage & back stage areas
Clear dressing rooms
STAGE MANAGEMENT - STRUCTURE
The Stage Management team is the channel of communication between all people and
departments contributing to a production. SMs are the organisers who ensure that
everything and everyone is in the right place at the right time, during both the rehearsal
period and performances.

The stage management team needs to be versatile, as different types of theatre

companies require different qualities and skills. It is important that stage management
have a working knowledge of everyone else’s job, not in order to do that job, but in
order to be able to empathise and understand their problems.

Stage Management need to be physically resilient – even the most organised

productions require a lot of hard work to reach and maintain a high standard – and this
is usually done with long working hours!

STAGE MANAGEMENT CAN BE EXHAUSTING, FRUSTRATING AND VERY DEMANDING, BUT

IT CAN ALSO BE VERY EXCITING AND REWARDING.

THE COMPANY MANAGER

1. Usually employed by larger companies, they are the management’s

representative and the senior member of the team, but is also the person who
creates the, ‘TEAM’ atmosphere.
2. Looks after the welfare of company members and being the confidante and
problem solver for cast & crew have as well as of director / designer and
technical departments on the production. So it is important the Stage Manager
gains their trust.
3. Deal with accounts department for actor’s time sheets, overtime and holiday pay.

THE STAGE MANAGER

1. Organises the acquiring of all props and furniture for the production and runs the
stage management budget.
2. Is the communication link – to ensure that all information coming out of
rehearsal reaches and is understood by the right department.
3. Responsible for organising the scene changes for the production, in discussion
with the director. They also co-ordinate the stage crew.
4. Directors representative once in performance so is in charge backstage as well as
being responsible for keeping the show as it was directed.
5. Responsible for tying up all loose ends at the end of the production, returning all
props, furniture etc.
6. Responsible for the health and safety and fire regulations aspects of the
production in performance and those working on it.
STAGE MANAGEMENT - PRE-PRODUCTION ACTIVITY (1)

Rehearsal Room.

The rehearsal room should always be booked, set up and ready before the first member
of the company arrives. Stage Management should usually arrive in the rehearsal room
at least half an hour before rehearsals are due to start.

First Day.

After discussion with your director set the chairs out as directed. You may need to put a
table in place for the director, designer and DSM
As everyone that you don’t know arrives introduce yourselves to him or her and explain
who you are.
Set the MODEL & COSTUME DESIGNS out on display for the company to see.

Directors & Designers Initial Talks / Read-Through

Very often the director will give a talk on how they envisage the play and how they
intend to rehearse it. The designer may show the model to the company explaining the
design concept and the workings of the set. It is useful to put a copy of the groundplan
and costume designs on the wall of the rehearsal room for the company to refer to
during the rehearsal period.

Most directors will do a read-through of the play. This must be TIMED, scene by scene
and an overall timing of the play. The director will refer to these regularly during the
rehearsal period.

After the read-through the director may divide the play up into smaller working units,
possibly smaller than the scenes. These must be taken down accurately because the
rehearsal calls will correspond to the units.

Cuts.

The director may make cuts to the script before or after the read-through (or both).
The DSM must put the cuts in the book accurately so that they don’t prompt an actor
with a line that has been cut.

Contact Lists.

It is very important that Stage Management have a contact number for everyone
involved in the production.
STAGE MANAGEMENT - PRE-PRODUCTION ACTIVITY (2)
Running of Rehearsals and Director / DSM Position in Rehearsals

At the beginning of the rehearsal period the DSM needs to discuss with the director the
position of where they would like to sit, the director usually sits where the audience will
be. The DSM should set up a table in a suitable place (most often where they are going
to cue the show from).

Prompt Script

The DSM writes down in the book all the actors moves (this is called blocking).
When the actors have learnt their lines, (‘off the book’) the DSM will have to prompt.
Any information about the production that occurs during rehearsals should be put into
the prompt script, e.g. LX cues, Sound cues, Fly cues, Scene change, Quick-change
information etc.

Post Rehearsal Communication

The DSM should take notes of all the information for every department that comes out
of rehearsals: Anything that the director mentions during rehearsals that will affect the
technical departments should be noted down. E.g. LX, Sound, Props, Wardrobe,
Production Management, Construction, Scenic Art, Stage Management.
Notification of run-throughs and run-through timings should go on the rehearsal notes.
Rehearsal notes should be done and distributed at the end of each day. Each rehearsal
note is numbered.

Props & Furniture.

The DSM should keep a note of all props & furniture settings. The DSM can then refer to
the setting lists when setting up to rehearse any scene.
Furniture positions should be marked with tape on the rehearsal room floor, (different
colours for different scenes). These marks will later be transferred to the stage.
The DSM should pay great attention to how props and furniture are used in rehearsals
and pass the information to the relevant department e.g. glasses that are likely to be
knocked over and broken, furniture that is stood on, special effects etc.
STAGE MANAGEMENT - PRE-PRODUCTION ACTIVITY (3)
Props Setting

The DSM should start to build up a props settings list (where all the props need to be set
for each scene) from the beginning of rehearsals. This can go on the rehearsal props
setting list so that you have the information for every time a scene is rehearsed.

Towards the end of the rehearsal period, when run-throughs are being done, these
scene by scene props setting lists need to be made into one complete list of where
everything is set at the top of the show.

Props should be set on tables around the rehearsal room to represent where in the
theatre the props tables will be set. It is important to have a substitute prop for every
single prop in rehearsals and as new props are added substitutes must be provided.

The DSM should confirm all props used, because even if they are on the provisional
props list, things may get cut or added as rehearsals progress.

Actual props should be used in rehearsals before getting to the technical rehearsal as
much as possible, so that time is not wasted sorting out problems that could be done
earlier.

Production Meeting Minutes

The DSM and SM should take notes of all points that are discussed during the production
meeting. They should be typed up and distributed to all the technical departments by
the DSM or SM.

Plotting Sessions

The DSM should attend all plotting sessions (LX & Sound) to put the cues in the book
with the director and designer. Make sure that you have the same cue number as your
operator. The DSM can help the director and LX designer with actor’s positions during
the LX plotting session. Standbys for the cues should be put into the book before the
technical rehearsal.
BLOCKING - ABBREVIATIONS
Prompt Side Stage Left PS

Opposite Prompt side is Stage Right OP

(Also known as bastard prompt where the SM/DSM station is situated there)

Stage left SL Stage right SR

Upstage US Downstage DS

Centre stage CS

Downstage left DSL Downstage right DSR

Upstage left USL Upstage right USR

Centre stage left CSL Centre stage right CSR

Ent Enters Ex Exits

X Crosses Turns

Crosses DSL Crosses USR

Crosses DSR Crosses USL

Travels Travels
towards SL towards SR

Short pause Long Pause

Upstairs Downstairs

Chair Table

Stool Sofa

Bench

You can use whatever you want as long as you present these at the front of the
prompt script in the form of a key.
STAGE MANAGEMENT - SHOW RUNNING & POST
PRODUCTION (1)
Routine Procedure

The Stage Management team should establish a routine, so that preparation for the
show is always done in the same order and nothing gets forgotten.

Pre-Show Checks

 The DSM should switch on all necessary equipment (prompt desk) an hour before
the half so that if something is not working there is plenty of time to fix it and
test cue lights, monitors, show relay FOH & backstage.
 Two members of the team should do a props & furniture check i.e. all furniture,
set dressing and props have been set correctly. Check all doors and windows are
working properly. Check that offstage areas are set.
 Live effects tested that are operated by the DSM e.g. doorbells, telephones.
 Wings and entrances are clear, clean and tidy and fire exits are clear.
 LX and Sound departments have completed their pre-show checks.
 Front of House Clearance (FOH)
 At the half-hour call the company and verify the signing in list.
 Once all the company and technical staff is present, the set, furniture and props
are set and LX and Sound are in their pre-set the Stage Manager should inform
the FOH manager that they are ready to open the house.

During the Show

The DSM is responsible for cueing the show as was decided upon during the technical
and dress rehearsals. The DSM should give LX and Sound cues, flys, scene changes and
actors performances in order to keep the show running as the director requires.

Curtain Calls

The director usually arranges these at the first dress rehearsal. It will involve the DSM
cueing the sequence and calling the company for the curtain call if all the actors are not
on the stage at the end of the play. The Stage Manager or DSM are responsible for the
number of calls, not the actors. The DSM should have all the necessary cue lights on
standby (e.g. for LX and house tabs.

Photo Calls

Photographs of the production will usually be taken at a dress rehearsal.

The actors must be warned that a photographer is present at that particular dress
rehearsal. Sometimes there may be a separate photo call and Stage Management must
ensure that the stage is set up for the correct scene, furniture and props are set and that
costume and lighting is available.
STAGE MANAGEMENT - SHOW RUNNING & POST
PRODUCTION (2)
First Night

Before the first night a list of running times must be given to the FOH manager, bar, box
office and reception.

The company may be nervous for the first night so tact, patience, understanding and
sensitivity should be used when necessary.

After the show the DSM should write and distribute the show report. This should
include show times, show staff, audience numbers, any technical sequences that went
wrong; any notes to technical departments that need working on before the next
performance. Also any mistakes or problems that the actors had. There is a section for
the SM to comment on things that happened backstage that the DSM might be unaware
of. The show report should only go to the relevant people; it should not be put up on a
noticeboard for general consumption.

As soon as possible the SM should collect everyone’s running lists and put them in the
prompt copy so that should a member of the show crew be off someone else can do
their job.

Understudy Rehearsals

On a long running or touring production understudy calls may have to happen. The SM
and DSM often take these at least once a week. It is important that the blocking is up to
date so that the understudies know what to do and where to go.

Get Out

Stage Management is usually responsible for returning the props and furniture from
where they came from. It is very important that any hires are returned as soon as
possible.
The DSM should make up a show envelope, which consists of the prompt copy and all
running and setting lists, calls, notes, groundplans, and programmes. The prompt script
goes into the archives and should any information be needed from that production or it
is remounted the envelope can be accessed.

The prompt copy is the property of the company or the theatre not the DSM.
PROMPT SCRIPTS
THE PROMPT SCRIPT IS THE PRODUCTION BIBLE:
The prompt script or prompt copy …
 is often called ‘the book’ containing an accurate record of the production.
 is used for understudy rehearsals.
 is used if a production is remounted or comes back into the repertoire.
 is used to keep the show as was directed during performances.
 needs to be neat, tidy and easily understood so that anyone could take over
If ‘shorthand’ is used for blocking make ‘a key at the front of the script.

PROMPT SCRIPT CONTENTS

 Accurate script containing all cuts, rewrites and actors pauses.
 Clear and simple to understand particularly the blocking.
 All cues that are in the production: LX, Sound, Flys, Follow Spots, Scene Changes,
Special Effects (Pyros), Actors cues etc.
 All the cues should have a description next to them in brackets.
 Backstage calls for actors and technical staff.
 Front of House (FOH) calls for calling the audience into the theatre.
 Complete setting lists for props and furniture.
 Running lists (crew, ASM, dressers etc).
 Scene change plots.
 Costume plots.
 Fly plots.
 LX & Sound cue sheets.
 Cast lists.
 Contact lists.
 Actor / scenic breakdown (Availability list).

PROMPT SCRIPT PREPARATION

 Glue or insert script pages with a blank or lined page accompanying each and
every script page. Sometimes a script page may need to be divided into 2 prompt
script pages if there is a lot happening. This applies equally to scores.
 Highlight the stage directions –makes it easier to skip over when prompting.
 Divide the blank page into two columns, one for blocking and one for cues and
calls.
 Put tabs at the side of the page to denote the act or scene.
 Always have a diagram of the set at the top of every page for putting actors,
furniture and props positions.
 Use your blocking shorthand to note the actor’s moves. Write a number on the
script where the actor moves and write the same number on the blank page
opposite followed by the description of the move. Always start at number one at
the top of each new page. Leave a space between the moves so that you can add
extra moves later. Use a light pencil and always have a rubber. Moves may
change regularly during the rehearsal period.
THE DRUMS OF SNOW PAGE 45 THE DRUMS OF SNOW PAGE 45

Door Cue USL Mr Jones

PROMPT SCRIPT EXAMPLE

LX Q23 GO
STANDBY FLYS Q4
STANDBY LX Q24, 25

LX Q24 GO

CALL Mr Edgerton

LX Q24
FLYS Q4 GO
Check Dressers put kettle on for interval / Fans on
STAGE MANAGER PRODUCTION WEEK CHECK LIST
Furniture marks transferred from Rehearsal to Theatre
Quick change plots completed & talked through with dressers
Liaise with departments working set & props for scene changes
Scene change plots completed, photocopied & talked through with
all crew members
Props Setting List completed with ASM and DSM
All Furniture ready in theatre for LX plotting session
Prompt Desk in position & working for LX Plot
Cue Lights in position & working before LX Plot
Headsets in position & working before LX Plot
Attend LX Plot (set up for scenes, Mark stage with tape)
Dressing Room Lists
Signing in Lists
Check 1st Aid box – well stocked & complete
Fire Evacuation Meeting with all technical & Acting Company
Attend Sound Plot & take notes
Help ASM set up props & Furniture for Tech
Talk through running of Tech with director & DSM
Introduce Technical Staff to Company at Technical rehearsal
Confirm with Box Office seat numbers
Confirm with Box Office running times of show
Liaise with FOH Manager regarding running times & FOH Info
(Strobes, smoking, nudity, language, gunshots)
Check Risk Assessments before Tech
Preparation for Fire Regulation Visit (Flame Plot / Smoking Plot)
Check Fire Curtain & Sprinkler & Isolation with technical staff
Check position & types of Fire Extiguishers
Liaise with PM & Director at end of each session to establish
schedule for next day
Attend Director’s technical notes sessions
Book Photographer for Dress Rehearsals