Book Description

Stage Manager:The Professional Experience–Refreshed takes the reader on a journey through all aspects of the craft of stage management in theatre, including the technological advancements that have come to theatre and the stage manger’s job.

Chapters are laid out to reflect the order in which stage managers experience and perform their work: what makes a good stage manager, seeking the job, building a resume, interviewing for the job, and getting the job (or not getting the job). Included are chapters on the chain of command, working relationships, tool and supplies, creating charts, plots, plans and lists, the rehearsal period, creating the prompt book, calling cues, and the run of the show. These are just some of the many topics covered in this book. In addition, the author uses interviews with stage management professionals in various stages of production, providing another view of how the stage manager is perceived and what is expected form the work of the stage manager.

Fifteen years after the original publication of Stage Manager: The Professional Experience, this new and refreshed edition is now in color to help clarify and illustrate points in the text. It is fully updated to reflect the the world of computerized technology: smart phones, thinly designed laptops, tablets, use of email and text messaging, storing and sharing files and information in cloud-based apps. Then there are the innovations of automation–electronically moving scenery, scenic projections–casting images and patterns on the stage; moving lights; LED luminaires; lasers; and greater use of fog and haze machines. 

In addition, the extensive glossary of more than 600 terms and phrases had been extend to well over 700, providing and excellent professional vocabulary for anyone hoping to be a theatre stage manager or already working in the field.

Table of Contents

  1. Cover
  2. Title
  3. Copyright
  4. Dedication
  5. Dedication to the Reader
  6. Contents
  7. Acknowledgments
  8. Preface to the Second Edition
  9. 1. Introduction
    1. The Professional Gap
    2. Learning the Hard Way
    3. The Human and Psychological Side of SMing
    4. Objective and Intention of This Book
      1. The Chapters in This Book
      2. End-of-Chapter Features
    5. A Glossary of Words, Terms, Expressions, and Phrases
    6. A Definition of Professional
    7. Equity: The Distinguishing Line between Professional and Nonprofessional
    8. The Most Important Work
    9. The Musical Play
    10. Standard SM Titles and Their Abbreviations
    11. The ASM
    12. Women SMs
    13. The History of the SM
    14. The Professional Experience of the Author
      1. The Use of SMing Skills in Life
      2. An Embarrassing SM Faux Pas
    15. Interviews
  10. 2. The Anatomy of a Good SM
    1. The Practical Application
    2. The Qualities of a Good SM
    3. The Spirit of an SM
      1. Having the Right Stuff
      2. Neatness and Perfection
      3. Control
      4. Ego
    4. Anatomy of an ASM
    5. Show Business: A Glamorous Business
    6. In Closing
    7. Interviews
  11. 3. The SM’s Chain-of-Command List
    1. Brief Profiles
      1. The Production Executives
      2. The Production Office Staff
      3. The Creators
      4. The Designers
      5. The Production Staff
      6. The Performing Artists and Actors’ Equity
      7. The Technical Staff: Department Heads, Their Assistants, and Stage Technicians
      8. The Shops and Vendors
      9. The Theatre, Performance Site, or Venue
    2. In Closing
  12. 4. Stage Manager for Hire: Seeking Work, Getting the Job, Being Hired Again and Again
    1. How Do I Get the Job?
    2. Networking
    3. Building a Resume
      1. Presentation of the Resume
      2. The Layout
      3. The Credits
      4. One-Page Resumes
      5. Slanting the Resume and Listing Secondary Credits
      6. Repetitive Credits
      7. Absence of Dates
      8. Further Experience
      9. References
      10. Your Equity Affiliation
      11. Contact Information
      12. Hobbies and Recreation
    4. Establishing a Good Reputation
      1. Good Word-of-Mouth
    5. Interviewing for the Job
      1. Gut Feeling
      2. Controlling the Interview and the Outcome
      3. Wanting the Job
      4. First Impressions
      5. Dressing the Part
      6. The Chit-Chat Part of the Interview
      7. The Other Side of Interviewing
      8. The Most Difficult Parts of Interviewing
    6. Getting an Equity Card
      1. The Equity Membership Candidate Program
    7. The Terms of the Contract
      1. Negotiating
    8. Personal Financial Planning and Budgeting
    9. Unemployment Insurance Benefits
    10. The SM’s Survival Kit
    11. The Professional Experience
      1. Proud to Join the Ranks
      2. The Terminator Negotiator
      3. That Gut Feeling
    12. Interviews
      1. An SM’s Story of Will, Desire, Wanting, Determination, Drive, and a Great Love for Theatre
  13. 5. The Electronic SM: Tools, Supplies, and Equipment
    1. A Portable Office
    2. The SM’s Electronic Carrying Case
    3. The SM’s Office Carrying Bag
      1. Contents of the SM’s Office Carrying Bag
      2. The Production Notebook
      3. Continuation of the SM’s Office Carrying Bag
    4. The SM’s Storage Box
      1. Contents of the SM’s Storage Box
      2. Other Items in the SM’s Box
      3. Extra Office Supplies
    5. The SM’s Console
    6. The Professional Experience
      1. Tax Tip—Deductible Business Expenses
      2. The Well-Supplied SM
      3. Logbook, the Star Witness
  14. 6. Hard Copy: Transitioning to Electronic Files—Charts, Plots, Plans, Lists, Schedules, Signs, and Reports
    1. Create an Identifying Heading—a Letterhead
    2. Forms Defined
    3. The Scene/Character Tracking Chart
      1. Our Imaginary Play
      2. Beginning the Scene/Character Tracking Chart
      3. A Refinement
      4. The Heading—the Archival Text
      5. Breaking Down the Play by Scenes
      6. Subdivision of Scenes, or French Scenes
      7. Naming or Tagging a Scene
    4. The Character/Actor–Actor/Character List
    5. The Rehearsal Sign-in Sheet
      1. The Archival Heading for the Rehearsal Sign-in Sheet
      2. Adding Color to Your Forms
      3. Continuing with the Rehearsal Sign-in Sheet
      4. Day Off while in Rehearsals
    6. The Performance Sign-in Sheet
      1. Floating Matinee Days
      2. Days Off during Performance
    7. The Cast, Technical Heads, and Production Staff Address Lists
      1. The Cast Address List
      2. The Staff Address List
      3. The SM’s Group Email List
      4. The Contact Sheet
    8. Schedules
      1. The Block Calendar
      2. Massive Coordination
      3. Publication and Distribution
      4. Daily Rehearsal Schedule
      5. Daily Schedule for a Musical
    9. The SM’s Daily Report
    10. The SM’s Personal Floor Plans
      1. Scenic Drawings/Blueprints
      2. Scenic Drawings—Visual Orientation, Easy Read
      3. The SM’s Knowledge of the Set
      4. The SM’s Floor Plans
      5. The SM’s Floor Plans for Annie Get Your Gun
      6. Return to the Archive Heading
      7. Noting the Acts and Scenes
      8. Personal Floor Plans Void of Measurements
      9. Personal Floor Plans Void of Scale Measurement
      10. A More Involved and Complicated Personal-Sized Floor Plan
        1. Basic Elements of the Hello Jerry Set
        2. The Backside to the Hello Jerry Set
      11. Personal Floor Plans for the One-Set Comedy John and Mary
    11. Lists
      1. The Schedule Reminder List
      2. Industry Phone Numbers List
      3. The Correct-Spelling-of-Names List
      4. The Prop List
        1. A “Working” Prop List
        2. Personal Props
    12. Sound
      1. The Sound Designer
      2. Working with the Sound Technicians
      3. Creating the Sound/Effects List
      4. Three Sound Lists
        1. Sound Plot—Sound to Be Gathered and Recorded
        2. Sound Requirement List
        3. Sound Cues List
      5. The Body Mic Tracking Chart
    13. Dressing Room Assignments List
    14. Show Rundown or Running Order
      1. The Show Running Order for Man of La Mancha
    15. Performance Running-Time Chart
    16. Show Reports
    17. Changes and Revisions
    18. In Closing
  15. 7. Profiles and Working Relationships
    1. First and Foremost—You!
    2. The Three Parts of the Inner Self
      1. The Adult
      2. The Parent
      3. The Child
    3. Personal Belief Systems
      1. Making Personal Change
    4. The Spiritual Self
    5. Anger and Fear
    6. Ego
      1. The SM’s Ego
      2. Working with Ego
    7. The Issue of Control and Perfection
    8. Dealing with Disagreement
      1. “You” versus “I”
      2. The Art of Listening
      3. Bringing Closure
    9. Setting Limits, Boundaries, and Expectations
      1. The Power of an SM
      2. Profiles: Superiors, Peers, and Associates Producer
        1. The SM’s Conflict of Loyalty—Producer versus Equity
        2. Money and the Producer
        3. User of People
        4. Salesmanship and the Art of Schmoozing
      3. Founder, General Manager, Executive Producer
      4. Associate Producer
      5. Production Manager
      6. Company Manager
      7. Producer’s Production Assistant
      8. Casting Director
      9. Publicity: Press, Programs, and Photography
      10. Office Staff
      11. Author, Composer, and Lyricist
      12. Director
        1. A Further Pledge of Allegiance, or More Conflict in Loyalty
        2. The Pivotal Point
        3. Service versus Servant
        4. The Winging-It Director
        5. Breaking the Director’s Creative Flow
        6. A Breech in Allegiance
        7. The Director’s Patience Factor
        8. SM in the Directorial Arena
        9. Learning and Knowing Each Director
      13. Assistant Director
      14. Music Director
        1. Rehearsal Pianist
        2. Music Arrangers: Vocal, Dance, Orchestration, and Copyist
      15. Choreographer
        1. The Choreographer’s Needs from the SM
        2. Dance Captain and Swing Dancer
      16. Performers
        1. Performers: The Illusion of Being the Center
        2. A Double-Edged Life
        3. Continuous Work for the Performer
        4. Magnifying Feelings, Building into a Frenzy and Peaking into Mob Mentality
        5. Putting the SM to the Test
        6. Giving Performance/Acting Notes
      17. Star Performers
        1. A Star’s Need for Support
        2. The Power and Control of the Star
        3. Giving Stars Performance/Acting Notes
        4. Delivering Messages to Stars
      18. Children Performers
        1. The Parents
        2. The Teacher/Social Worker
        3. The Child Wrangler
        4. The Wrangler’s Greatest Help to the SM
      19. Actors’ Equity
        1. The Equity Deputy
      20. Designers
      21. Technicians
        1. SM—Leader of the Crew?
        2. The Union Brotherhood: Protective and Defensive
        3. Using Psychology with the Crew
        4. Gaining Respect from the Crew
        5. Technicians and Artists: Sometimes a Gulf or Separation
        6. Saving Face
      22. Technical Director
      23. Head Carpenter and Automation Department
      24. TD/Head Carpenter Positions Combined
      25. Head Flyman or Head of the Rail
      26. Head of Props (Propman, Prop Master, or Property Master)
      27. Electrical Department (Lighting) and Projection
        1. Lighting Designer
        2. Head Electrician
        3. Computer Light Board Operator
        4. Spotlight Operators
        5. Assisting the Electrical Department
      28. Sound Department—Designer and Technical Head
      29. IATSE: The Stagehand’s Union
      30. Costume/Wardrobe Department
        1. Costume Designer
        2. Head of Wardrobe
        3. Dressers
        4. Wardrobe Department: A Personal Service
      31. Hair Department
      32. Shops and Vendors
      33. The Performance Site and Their Personnel
        1. Backstage: The House Crew
        2. Front-of-the-House Staff
        3. The House Manager
    10. In Closing
    11. The Professional Experience
      1. Personal Beliefs Getting in the Way
      2. A Central Dance Figure
      3. Star Power
      4. Gypsy—a Real Mama Rose
      5. Maintaining Artistic Integrity
      6. Electrical Storm
  16. 8. Running Equity Auditions
    1. The Equity Representative
    2. The Auditioning Staff
    3. Types of Audition Calls
      1. The Open Call or Cattle Call
      2. Auditions by Appointment
      3. Auditions for Musicals
      4. Singing Audition/Readings for a Role
      5. Ensemble Auditions
    4. Star and Lead Role Auditions
    5. The Performers’ Representatives
    6. Auditions for the Non-Equity Actor
    7. Preparing for the Auditions
      1. Becoming Familiar with the Script
      2. Communicating with the Audition Site
        1. Auditions Held in a Theatre
        2. Audition Somewhere Other Than a Theatre
        3. Auditions for a Musical
        4. Dancing as Part of the Audition
    8. Office Supplies
    9. The Producer’s Information Cards/Sheets
    10. Signs
      1. Directional Signs
      2. Posting the Signs
      3. The Time/Arrival Sign-in Sheet
      4. The Audition Instruction Sheet
      5. The No Smoking Sign
      6. The Cell/Smart Phone Sign
    11. Choosing Scenes for the Audition—aka “Sides”
    12. The Audition Space
      1. Dividing the Audition Space
    13. Setting up the Reception Area
      1. The Sign-in Table
      2. Seating in the Reception Room
    14. Setting up the Audition Area
      1. The Setup for Auditions in a Theatre
      2. The Auditioning Staff’s Table in the Theatre
      3. Access Stairs to the Stage
    15. The Setup in an Audition Room
      1. Placement of the Staff’s Audition Table
      2. Lighting
      3. A Room with Mirrors
      4. X Marks the Spot
      5. The SM’s Worktable
    16. Art and Craft in Working the Audition Room
    17. Serving the Performers
    18. Reading Scenes with Performers
    19. Bringing Closure to the Audition
      1. Performers Wanting a Second Chance
    20. The SM as a Timekeeper
    21. Callback Auditions
      1. Actors Getting a Callback
      2. The Spirit of Callback Auditions
      3. Working the Callback Auditions
    22. You Got the Job!
    23. The SM Expressing an Opinion
    24. In Closing
    25. The Professional Experience
      1. An Epic Audition—Part 1
      2. Part 2: A Kiss from Melanie
      3. Serving the Director’s Audition Needs
      4. An Audition Phobia
  17. 9. The SM’s Pre-Production Time
    1. Homework
      1. Script Smart, Set Smart
    2. Beginning Stages of the Charts, Plots, and Lists
    3. At the Production Office
      1. On the First Day at the Production Office
    4. The Block Calendar
      1. Getting Information from the Production Office
      2. Gathering Information from the Director
      3. Gathering Information from the Rest of the Staff
      4. Talking with the Costume Shop
      5. Talking with Publicity/Public Relations
      6. Key Information to Include in the Block Calendar
      7. Under the SM’s Watchful Eyes
    5. Production Meeting
      1. Video Chat, Webcam Broadcasting
      2. Enter Ms. Cynthia R. Stillings
    6. Cast Business: First Contact, General Information, Instructions
      1. The First-Contact Email
    7. The Contact Sheet
    8. Contacting the Equity Representative
    9. Settling into a Calmer Pace
    10. Character/Actor–Actor/Character List
    11. The SM’s Personal Floor Plans
    12. Completing the List of Hard-Copy Work
    13. Assembling and Distributing Packets of Information
    14. Revisions Made on Information Already Distributed
    15. Scripts and Scores
      1. Receiving an Electronic Script
      2. Scripts and Scores Purchased from a Publisher
      3. The Paperback, Booklet-Size Playbook
      4. Making the Script into an Editable Document
      5. Distribution of Scripts
      6. The Rented Script List
      7. Considering How Many Copies of the Script Are Needed
    16. By the End of the SM’s Pre-Production Time
      1. The Rehearsal Space
    17. Taping the Floor Plans on to the Rehearsal Room Floor
      1. The Layout of the Rehearsal Room
      2. Tools Needed for Taping the Floor Plans on to the Rehearsal Room Floor
      3. Cloth Tape
      4. Laying in the Floor Plan
      5. Indicating Backdrops, Curtains, and Scenery Flown in from Above
      6. Dance/Blocking Numbers
    18. Rehearsal Props and Furniture
    19. The Equity Callboard
    20. Finishing Touches and Checklist on the Rehearsal Room
    21. In Closing
    22. The Professional Experience
      1. Fritzie: A Lasting Impression
  18. 10. Rehearsals
    1. The First Day of Rehearsals
    2. The First-Day Rehearsal Hall Setup
      1. Setting Up for Equity
      2. Setting Up the Social Amenities
      3. Additional Setup
      4. The SM’s Workspace and Table
    3. Arrival of the Cast
      1. The Equity Business Hour
      2. The Equity Business to Be Done
      3. Attendance at the Equity Hour
    4. The SM’s Welcoming and Down-to-Business Speech
      1. Points Within The SM’s Welcoming Speech
      2. The SM’s “Rented Script” Speech
    5. Costume Measurements
    6. The Correct-Spelling-of-Names List
    7. Enter the Producer, Director, and Star
    8. The Reading of the Play or Table Read
    9. Breaks for the Cast
    10. The Director and Breaks
    11. The Stopwatch
    12. The Midday Meal Break
    13. After Midday Break
    14. More on the Director and SM’s Working Relationship
      1. A Nightmare SM–Director Relationship
      2. What Directors Expect from Their SMs
      3. The Director’s Rehearsal Time
      4. Breaking into the Director’s Creative Process
    15. The SM’s Notepad
    16. Making the Daily Schedule
      1. Putting Together and Distributing the Daily Schedule
      2. Working in Realistic Time
      3. Poor Use of Time
      4. Considering the Performers in the Schedule
    17. Dealing with People Being Late
      1. Late Performers
      2. Late Director or Stars
    18. The Equity Rulebook
    19. The Day’s End
      1. The SM’s Day’s End
    20. Production Meetings
    21. The SM’s Work—Continuing and Endless
    22. Sound Bite—Barbara Beckley
  19. 11. The Rehearsal/Blocking Script
    1. Learning the Show and Gathering Information
      1. Set Design
      2. Costumes
      3. Music
    2. Enter the Rehearsal/Blocking Script
    3. A Definition of Blocking
      1. Personal Blocking
      2. Famous Blocking
    4. The SM’s Responsibility for Noting Blocking
    5. The Speed Required for Making Blocking Notes
      1. Noting Blocking Electronically
      2. The SM’s Shorthand
    6. Knowing Your Right from Your Left
      1. House Right and House Left
    7. The Stage Breakdown
      1. The Basic Parts
      2. The Center Stage Line
      3. Different Symbols Used for Center Stage
      4. Creating Up Stage and Down Stage
      5. Stage Divided Horizontally and Vertically
      6. The Apron
      7. Greater Division of the Stage—Cutting the Stage Horizontally
      8. Cutting the Stage Vertically
      9. New Center Point
      10. Full-View Drawing—Blocking Areas and Center Points
    8. Arena Staging—Theatre in the Round
    9. Arena Staging—Theatre in the Square
    10. Additional Areas and Abbreviations for Noting Blocking
    11. Abbreviations for Character Names
    12. Noting the Actor’s Moves/Crosses
      1. Example of SM’s Blocking Notation in Shorthand
      2. Directional Arrows Speak Volumes
      3. Another Blocking Notation Example
      4. Greater Use of the Arrow
    13. Some General SM Abbreviations
      1. The SM’s Picture Drawing in Noting Blocking
    14. Noting Blocking for Busy Scenes
      1. Annie Get Your Gun Train Scene
      2. 1. Annie’s Entrance with Jake
      3. 2. Buffalo Bill’s Entrance with Charlie, Shortly Followed by Frank’s Entrance
      4. 3. Dolly’s Entrance and Encounter with Frank
    15. The Absence of Some Blocking Details
    16. Neat Blocking Notes
      1. SM’s Blocking Notes as Written on the Script Page
    17. The Numerical Way to Note Blocking
    18. The Publisher’s Stage Directions and Technical Effects
    19. Organizing the Rehearsal/Blocking Script
      1. Tabbing the Scenes
      2. Inserting the SM’s Personal Floor Plans
      3. Script Changes
      4. The Electronic Script
      5. Revised Pages
      6. Marking Revised Pages
      7. Script Changes That Create Extra Pages
      8. Keeping Script Changes in Electronic File and Hard Copy
    20. Following Script
      1. Following Script for the Director
      2. Following Script for the Actors
      3. Calling Out Lines
    21. Calling Technical Cues in Rehearsals
      1. The SM’s Delivery Technique
    22. Timing Scenes, Acts, and the Whole Show
    23. Props
      1. Detailing the Props
      2. Red-Flag Props
      3. The Metamorphosis of the Prop List
      4. The Performance-Preset Prop List
    24. In Closing
  20. 12. The Last Days of Rehearsals
    1. The Shift in Work
    2. Meetings
    3. Smaller Individual Meetings with the SM
      1. Lighting and Projections
      2. The SM’s Second Meeting with the Lighting Designer to Get Light Cues
      3. Having the Cueing Script/Prompt Book Noted before Techs Begin
      4. Spotlight Cues
      5. Set Moves/Scene Changes Meeting (Paper Tech)
      6. Sound Cues Meeting
      7. Costumes/Wardrobe and Hair Meetings
      8. Meeting with the Music Department
      9. Set Designer/Construction Shop Meetings
    4. Advice to the SM
    5. The ASM
    6. Birth of the Cueing/Prompt or Calling Script
    7. Run-Thrus of the Show at the Rehearsal Hall
      1. The Director’s Obligation to Have Run-Thrus
      2. The SM as Watchdog
      3. The SM’s Contributions to the Run-Thrus
      4. Invited Guests for Run-Thrus
      5. Setting the Rehearsal Room for Invited Guests
      6. Arrival of the Guests
    8. Preparing the Cast for the Move into the Theatre
    9. Supplementary Rehearsal Space
    10. Closing Out the Rehearsal Hall
  21. 13. The Cueing/Calling/Prompt Script
    1. Cueing Script: The SM’s Master Plan or Conducting Score
    2. Preparing the Cueing Script
      1. Cueing Script—Manuscript Size
      2. Cutting and Pasting Ends of Scenes
      3. Merging the Score and Libretto into One Cueing Script
      4. Tabbing the Cueing Script
    3. Cue Gathering
      1. The SM’s Artistic Mind’s Eye
    4. A Shorthand for Noting Cues
      1. The Notation for Electric Cues
    5. Abbreviations for Noting Cues
    6. Color Coding Cues
    7. Practical Application of Cues into the Cueing Script
    8. Marking the Spot Where the Cue Is to Be Called: The Caret
      1. Comparing Figure 13-1 with Figure 13-2
      2. Color Coding
      3. Point Cues
      4. Caret versus Box
      5. Boxed Information
      6. Standard Abbreviations within a Box
      7. Parentheses with the SM’s Handwritten Note
      8. The Count of the Light Cue
      9. Bracketing a Group of Cues
    9. A Group of Cues
      1. The Arrow of Immediacy
      2. Follow Cues
      3. Visual Cues
    10. Noting Spotlight Cues
    11. Building Sequences of Cues for a Transition—Easy to Complicated
      1. An Easy Transition
      2. A Middle-Sized Transition
      3. A Large and Involved Transition
    12. Noting WARN: Cues
      1. Putting the WARNs into the Cueing Script
    13. Half-Hour before the Show
      1. The Preset and Curtain Warmers
      2. It’s Show Time! Noting Cues to Start the Show
    14. The Craft of Calling Cues
      1. Reaction Time
      2. Placing the Caret for Timing and Perfection
    15. Feeling at Home at the SM’S Console
      1. The SM’s Console—Basic Setup
      2. The SM’s Needs: Creature Comforts and Necessities
      3. Headset
      4. Sound Show Monitor
      5. Reading Light
      6. SM’s Stool
      7. Other Comforts and Necessities
      8. Having a Backup Plan
      9. Backstage versus Back of the House
    16. Calling Cues for the Performance
      1. The WARN:
      2. The STAND BY
      3. The GO!
      4. Calling Spotlight Cues
      5. QUICK, Turn Page, More Cues
      6. Calling Cues with Clarity
      7. Pattern and Rhythm
      8. Vocal Inflection
      9. Night Vision
      10. Calling a “Tight” Show and Keeping the Cues “Flowing”
      11. Visualizing Scene Changes and Transitions
      12. Hand Cues
      13. The SM’s Sacred Space while Calling Cues
    17. In Closing
    18. The Professional Experience
      1. Lost and Never Found: An SM’s Nightmare
  22. 14. Technological Advancements: Moving Lights, Light Emitting Diodes, Lasers, Haze Makers, Scenic Projections, and Automated Scenery
    1. Moving Lights
    2. Light Emitting Diodes (LEDs)
    3. Lasers
    4. Haze Makers and Smoke Machines (CO2Machines)
    5. Scenic Projections
    6. Computer-Driven Automation
    7. Sound
    8. So What Should Today’s SM Know about the Latest Technology?
    9. Automation
    10. Sliders
      1. The Pizza-Cutter Device: The Idler Wheel
    11. The Lavaliere Microphone: Body Mic, Wireless, Body Pack, or Radio Pack
      1. Assisted Listening
    12. Some Basic Knowledge about Moving and Intelligent Lighting
      1. Intelligent Lighting
      2. The Vari-Lite: The Moving Spotlight
      3. The Source Four Lighting Instrument
    13. A Thumbnail Sketch of the History of Lightboards
      1. DMX Cable (Data Matrix)
    14. Getting Color from the Intelligent Lighting Instruments
      1. Getting Color from LED Light Units
      2. Getting Color from Lighting Units Using Halogen and Xenon Lamps
    15. LED Tape
    16. The LED Panel, Screen, or Video Wall
    17. Gobo
    18. Lumen, Luminaire, Luminous Flux
      1. Lumen
      2. Luminaire
      3. Luminous Flux
    19. More on Smoke, Hasers, and Fog Machines
      1. Equity Rules Governing Atmospherics (Smoke, Haze, Fog, and Firearms)
      2. The Material Safety Data Sheet
    20. Aluminium Trusses
    21. Scenic Projections
      1. DL3 Digital Projector
    22. Some Basic Working Terms for Today’s SM
  23. 15. Technical Rehearsals
    1. The PSM and ASM
    2. No Rest for the SM
    3. The Cast’s Work Schedule
      1. Longer Day’s Work for the SM
    4. The Nature of Technical Rehearsals
    5. The SM Entering Techs
    6. The SM’s Work in Techs
      1. First Business of the Day
      2. Tour of the Theatre
      3. Touring the Front of the House
      4. Walking through the Audience
      5. Visiting the Box Office and Administrative Office—Meeting the House Manager and Staff
      6. The SM’s Office
      7. Cast Dressing Room Assignments
      8. Consulting Wardrobe and Quick Changes
      9. Dressing Room Nameplates
      10. A Schematic Drawing of Dressing Room Assignments
      11. The Company Callboard
      12. Directional Signs
      13. No Let Up for the SM
    7. The SM’s Second Day of Techs
      1. Tech Departments Ready
      2. White Tape and Glow Tape
      3. The Dance/Blocking Numbers
    8. The SM’s Psychology of Good Timing
    9. Gray Responsibilities
    10. In the Line of Fire, Magnified
    11. The Crew’s Expectations of the SM
    12. Cast and Crew Coming Together
      1. Preventative Measures
      2. The SM Sets the Example
    13. The Daily Tech Schedule
    14. Division of Labor
    15. The Working Relationships of Techs
      1. The Principal Performers in Technical Rehearsals
      2. The SM
      3. The Director
      4. The SM, Producer, and Director
      5. The Cast
      6. The Crew
    16. Let the Techs Begin
    17. The Heart of Techs
    18. Laying in Spike Marks
    19. Changes and Cleaning up the Cueing Script
    20. Moving into the Next Phase of Techs
    21. Actors’ Entrances
      1. Nipping It in the Bud
    22. Timing the Show, or the Running Time
    23. The SM Moves from out Front to the Backstage
    24. Show Rundown Sheets
    25. Dry Techs
    26. Scenery Plot and Fly Plot
    27. Checking Sight Lines
    28. The Blue Work Lights
    29. Crucial Cues to the Show
    30. Costumes, Hair, and Makeup
    31. Musicals: The Orchestra
      1. Scheduling the Orchestra
      2. Rehearsal Space for the Orchestra
      3. Setting Up the Orchestra Rehearsal Space
      4. Setup of the Orchestra Pit
      5. The Sitz Probe (Sitzprobe)
      6. The Different Parts of Rehearsals for the Orchestra—Schedule Breakdown
      7. The SM’s Responsibility to the Orchestra Rehearsal
    32. Before the Arrival of the Fire Marshal
      1. The Fire Marshal’s Arrival
      2. Another Gray Responsibility
    33. The Final Phase of Techs
      1. Collecting and Returning Valuables
      2. Techs Continue
      3. Performance Level
    34. The Director Giving Notes
      1. Important Information for the SM
    35. Performance Show Reports
      1. Detailed Timing Forms
    36. Production Photos or Videos
      1. News Coverage and Interviews
    37. Piano Tuning
    38. More on the SM’s Working Relationships
    39. A New Beginning
      1. The Making and/or Rewriting of the Cueing Script
    40. The Professional Experience: An SM Overwhelmed
    41. Interview
  24. 16. The Opening Performance
    1. The Event of an Opening Performance
    2. Hellish Openings
    3. The Supreme Power and Rights of the SM
      1. One Voice
    4. Curtain Bows
      1. Last-Minute Cue Noting
      2. Encore Bows
      3. The SM’s Judgment and Timing in Giving Encore Curtain Bows
    5. Arrival of Congratulatory Items
    6. Working the Backstage Public Address System
      1. The Dreaded Red Box!
      2. Communicating to Cast and Crew
      3. Collecting Valuables
      4. Use of the Terms Company and Cast
      5. Repetitive Information
      6. Giving Notes, Instructions, or Directions to the Cast
      7. Being Clear and Specific in Delivering Information on the PA
      8. Half-Hour: The Time of Preparation before the Performance
      9. The Fifteen-Minute Call
      10. The PA—for SMs’ Use Only
      11. The Human Side
      12. The Five-Minute Call
      13. Delays in the Starting Time of the Show
      14. Consequences and Considerations When Starting the Show Late
      15. Star Courtesy and Consideration
      16. Late Performers
    7. Prompt and Consistent
    8. Applause and Acknowledgment
    9. Curtain Up!
    10. The Professional Experience
      1. The Scarlet Primper-Nell
  25. 17. Run of the Show
    1. Reviews and Ticket Sales
    2. A New Show
    3. A Shift in Work
    4. Company Manager and SM Left in Charge
    5. The SM’s Work and Responsibilities
    6. The SM’s Logbook
      1. Sample Entries in a Logbook
      2. A More Complete Example from an SM’s Logbook
    7. Actors Making Changes and Improvements in the Show
      1. The SM Knowing Acting and Directing
      2. Giving Actors Performance Notes
      3. Varying Performances
      4. The SM’s Transition in Giving Performance Notes
      5. Giving Stars Performance Notes
      6. Greater Latitude for Star Performers
      7. Delivering Other People’s Performance Notes
      8. A Final Step: Follow-Up
    8. The ASM Takes the Stage
      1. The ASM Prepares—Calling Cues for the Show
      2. The ASM’s Working Disadvantage
      3. Musical Shows
      4. Show Insurance: The Show Must Go On
      5. Updating the Blocking
      6. The “Archival” Video
    9. Days Off and Matinee Days
      1. Matinee Performances
    10. Rehearsals during the Run of the Show
      1. Brush-Up Rehearsals
      2. Line Rehearsals
      3. Understudy Rehearsals
      4. The SM Must Be Prepared
      5. Restrictive Guidelines
      6. The Soul of Understudy Work
      7. An Assortment of Understudies
      8. The Understudy Who Will Never Go On
      9. No Performance during Understudy Rehearsals
      10. The Understudy’s First Performance
      11. Scheduling Understudy Rehearsals
      12. Understudies Watching from the Wings
      13. Understudy Rehearsals for Musicals
      14. Standby Performers
      15. Replacement Performers
    11. Prompting or Feeding Actors’ Lines
    12. Creating Close Friendships
    13. The Professional Experience
      1. Star Power: Box Office Power
      2. Walking in an Elephant’s Shoes
      3. The Reluctant Star Understudy
  26. 18. The Touring Show
    1. Types of Touring Shows
      1. National Tour
      2. International Tour
      3. Out-of-Town Tryout or Pre-Broadway Run
      4. Regional Tour
      5. Summer Stock
      6. Bus and Truck
      7. Split-Week Tour
      8. One-Night Stand
      9. Road Show
    2. Equity Taking Care of Its Members
    3. The Company Manager, Touring Manager, and SM
    4. The Wear and Tear of Touring
      1. The Road Crew
      2. The SMs
      3. The Performers
    5. The SMs Anatomy of a Touring Show
    6. Part One: Closing Out the Show and Packing
      1. The Producer’s Transition Time
      2. The Two Phases to Closing Out a Touring Show
      3. The SM’s Preparations
      4. The Last Performance
      5. Advance Packing
      6. Let the Packing Begin
    7. Part Two: Traveling the Show—Cast, Crew, and All Things Technical
      1. Traveling the Cast
      2. A Company Traveling Information Notice
      3. A Time Schedule for Departing the Old Town, Arriving at the New Town
      4. The Partner or Buddy System
      5. Establishing Promptness
      6. Persons Traveling on Their Own
    8. Luggage and Baggage Handling
      1. Tagging Each Piece of Luggage
      2. Baggage Check-In
      3. Baggage Claim
    9. Part Three: Settling into the New Town and Venue
      1. On-the-Road Living
      2. Making Yourself at Home
      3. Living Accommodations
      4. The Temporary Callboard
      5. The New Performance Site
      6. The Show Crew, House Crew, and Local Crew
      7. A Mini-Tech
      8. Setting up at a New Performance Site
      9. Putting It Together
      10. Another Opening
      11. The ASM
    10. Additional Work for the Touring SM
      1. Spike Marks and Taping
      2. Additional Conversation with the Front of the House
      3. Focusing the Show Lights—a Job for the ASM
      4. Spotlight Cues
      5. Local Actors
    11. An SM Myth
      1. The SM’s Time of Supreme Authority
    12. Living Together
      1. The Performers
      2. The Crew
      3. Cast and Crew
      4. The SM
    13. The Performance on the Road
    14. The Professional Experience
      1. On the Road with a Major Musical, by Anne Sullivan
      2. Touring Magic Show
        1. The Black Drapes
        2. Electrics
        3. Spotlight Cues
        4. Sound
        5. Tech Day and Two Performances
        6. Example: Magic Show Lighting Plot/Requirements
  27. 19. Closing the Show
    1. The Closing Notice
    2. Feelings
    3. The SM’s Obligation to the End
    4. A Final SM Myth
    5. The Silent Preparations
    6. The SM’s Preparatory Work
    7. The Production Book
      1. The Importance of the Production Book
      2. A New Show or a Revival
      3. The SM’s Personal Library
      4. The Cueing Script
      5. The Blocking Script
      6. Much to Do about Nothing
      7. A Production Book for the Director?
      8. The Logbook
      9. The Final Address List
    8. Personal Props
    9. Last-Performance Pranks
    10. The Equity Bond
    11. Departure and Goodbyes
    12. The Professional Experience
  28. 20. In the Line of Fire
    1. Prologue
    2. Getting the Job
    3. The Honeymoon
    4. Enter Miss Darling
    5. The Honeymoon Is Over
    6. Technical Rehearsals
    7. The San Francisco Tryout
    8. The PSM’s Turn
    9. Vera’s Madness
    10. Last Week in San Francisco
    11. The Los Angeles Run
    12. Spiraling Downward
    13. The “Ha!” Cue
    14. The Curtain Bows
    15. The Portrait Cue
    16. The Chicken Caper
    17. The PSM and I
    18. The Flood of Blue Lights
    19. Epilogue to the Blue Lights
    20. Mechanical Failure
    21. In Closing
  29. Glossary: The SM’s Working Vocabulary
  30. Index