Name: __________________________

Introduction to Stage Management

This worksheet was created to accompany Episode 3 of Ovation Academy: Classes with Katy, and is
designed to guide you through an activity where you will have the chance to try calling cues yourself.

INSTRUCTIONS
There are lots of different responsibilities that a stage manager has, but one of the most fun parts
of stage managing is ​calling cues​! During a performance, every light, sound, projection, and fly
cue happens when the stage manager says “GO,” so it is really important that the stage manager
stays focused and calls the cue the same way every time. Your challenge is to practice calling
cues on your own for a short segment of a performance!

EXAMPLE
Take a look at the sample script page from ​Lizzie: The Musical​ on the next page, with cues
written on the right-hand side of the page. Note the differences between the different types of
cues. Light cues are notated with “LQ,” sound and projection cues with “SQ,” fly cues with “FLY
IN/OUT,” and fog cues with “SMOKE ON.” Once you have looked over the cues, watch the video
at this link (​https://youtu.be/ONSKMopPSuA​) of Katy calling this page of the script to see an
example of how cues are called in performance. Notice that the cues that are bracketed together
are called at the same time - for example, "Smoke on, portraits in, scrim out, and sound 43...GO.”

TRY IT YOURSELF
Now it’s your turn! First, watch this clip of the cast of ​Dear Evan Hansen​ performing at the Tony
Awards: ​https://youtu.be/h9rf5wFq3zk?t=156​ Then, take a look at the sample cue sheet on the
third page of this document. (This is just an example of what a script page ​might​ look like from
this show. It was created for the purpose of this cue-calling exercise) On the cue sheet, be sure to
identify which cues are standbys (notated as “SB”), which ones are visual cues called on an
action, which ones are verbal cues called on a word, and which ones are musical cues called on a
specific beat in the song. Then, watch the performance again with the cue sheet in front of you
and practice calling the cue at the correct time. Remember that the cue should be called slightly
before you see the lights change, so ideally you want to see the lights change right after you say
“GO.” ​Don’t be discouraged​ if it takes you a few tries to get it right! Also, if the light and
sound/projection cues combined are too tricky, it is totally okay to just try the light cues and
ignore everything marked “SQ.”
 I hope you had fun learning a bit about stage management and getting to
call your own cues! I can’t wait to see all your awesome work. Don’t forget to
share your videos​ ​with us​ so we can see what you’ve been working on!

If you have any questions, don’t hesitate to reach out at ​OvationTC@gmail.com​, and I will
get back to you as soon as I can.

Happy calling!
Katy

If you loved this activity...

ABOVE AND BEYOND

Grab someone else and teach them what you’ve learned about stage management. After all, the
best way to show you know a topic is by teaching someone else! Without having them watch the
video, see if you can explain to them what a stage manager is, what some of their most important
responsibilities are, and how to call cues. Then, try teaching them to call the cues from the
sample script page and see how they do!

KEEP ON LEARNING
As mentioned in the video, there is so much more that goes into stage management before you
get to calling cues. On the following pages, there are two extension activities - one where you
can try creating a production analysis, and one where you can practice recording blocking. Have
fun!
CREATING A PRODUCTION ANALYSIS
After a stage manager has read the script once, the next time through should be focused on
combing the script for ​any details the playwright includes​ that would be important to know
going into rehearsals. These might include specific requirements of the set, lighting, props, sound
effects, costumes, or any other special effects or staging needs that it would be important to
keep track of. Creating this document will be very helpful later on, because it can be used to
create props lists, costume plots, and more. Take a look at the example below of the first page of
​ y Sarah Treem, and of what the first row of
the script for ​When We Were Young and Unafraid b
the production analysis might look like.
 TRY IT YOURSELF
Take a look at this first page of the script of ​Trifles ​by Susan Glaspell. Using the information given
in the stage directions and the first few lines of dialogue, try out filling out the first row of a
production analysis yourself. Remember to note every detail you can find - if you were stage
managing this show in real life, it would make your job much easier later on!

Act/ Page Cast/ Set Lights Props Sound Notes

Scene Costume
RECORDING BLOCKING
One of the stage manager’s most important responsibilities during staging rehearsals (when the director is
deciding where people will move onstage and how each scene will look) is to write down all of the
blocking​, or all of the movements and actions that the actors do in a scene.
Here are a few examples of ​notation​ for blocking that stage managers might use in a script and what each
one means, as well as a diagram detailing the locations of each section of the stage:

USR USC USL

CSR CS CSL
DSR DSC DSL
​Audience

There are many different ways to record blocking, but one way is by using a separate sheet of paper right
next to the page in the script. Take a look at the example below from ​A Midsummer Night’s Dream.​ Each
numbered action on the page on the left below happens at the point in the script where the number is
written. Also, each character is notated with the first initial(s) of the character surrounded by a circle. For
example, on the word “fair,” Lysander crosses upstage right to lean on the ladder (number 5).
​TRY IT YOURSELF
First, watch the video clip of this scene from Shakespeare’s ​Much Ado About Nothing​ at this link:
https://youtu.be/KkmSIy8PayY​. Now it’s your turn to try out recording blocking for yourself! Refer
back to the blocking notation and the example above if you get stuck, and do your best to write
down ​everything the actors do​ using the dialogue below and the blocking sheet on the next
page. You can also pause the video or go back if you miss something or need extra time to write
it down. It’s important to have a detailed record just in case the director or the actors need to be
reminded later on. Also, feel free to use the empty space in the box to draw out diagrams or use
arrows to help illustrate any of the movements if that is helpful to you!

ACT 2, SCENE 3
BENEDICK
When I said I would die a bachelor, I did not think I should live till I were
married. Here comes Beatrice. By this day! she's a fair lady: I do spy some
marks of love in her.
BEATRICE
Against my will I am sent to bid you come in to dinner.
BENEDICK
Fair Beatrice, I thank you for your pains.
BEATRICE
I took no more pains for those thanks than you take pains to thank me: if it
had been painful, I would not have come.
BENEDICK
You take pleasure then in the message?
BEATRICE
Yea, just so much as you may take upon a knife's point and choke a daw
withal. You have no stomach, signior: fare you well.

Exit
I hope you enjoyed exploring even more in the world of stage management.
It’s a difficult job, but very important and also a lot of fun! If you want to
watch professional stage managers call cues or hear Broadway stage
managers talk about their jobs, check out the videos at the links below:

Watch a stage manager call “Mama I’m a Big Girl Now” from ​Hairspray​:
https://youtu.be/5TXBqdDAXgE

Watch a stage manager call “Confrontation” from ​Jekyll and Hyde​:

https://youtu.be/SISJQFHAwhE

Hear ​Hamilton​’s stage manager discuss what it’s like to be the one running
the ship:
https://youtu.be/P3sUsS-BGzE

Listen to ​Wicked’​ s stage manager talk about maintaining the artistic integrity
of the show:
https://youtu.be/4dU3RlYQIVM