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The Stage Manager's Toolkit, 3rd Edition

Release Date: 2020/12/01
ISBN: 9781000287639
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The Stage Manager’s Toolkit, Third Edition provides a comprehensive account of the role of the stage manager for live theatre with a focus on both written and verbal communication best practices.

The book outlines the duties of the stage manager and assistant stage manager throughout a production, discussing not only what to do but why. It also identifies communication objectives for each phase of production, paperwork to be created, and the necessary questions to be answered in order to ensure success. This third edition includes:

  • an updated look at digital stage management tools including script apps, cloud storage, and social media practices;

  • a new discussion on creating a healthy and safe rehearsal space;

  • updated paperwork examples;

  • new information on Equity practices for the student and early career stage managers.

Written for the stage management student and early career stage manager, this book is a perfect companion to any university Stage Management course.

A companion website hosts customizable paperwork templates, instructional video, links to additional information, teacher tools for each individual chapter, and a bonus chapter on teaching stage management.

Table of Contents

  1. Cover
  2. Half Title
  3. Series Information
  4. Title Page
  5. Copyright Page
  6. Contents
  7. Foreword
  8. Acknowledgments
  9. Preface to the Third Edition
  10. Introduction: The Stage Manager as Communicator
    1. COMMUNICATION VERSUS SELF-EXPRESSION
    2. FORMAT OF THIS BOOK
  11. CHAPTER 1 Avenues of Communication
    1. FACE-TO-FACE COMMUNICATION
    2. NONVERBAL COMMUNICATION
    3. EMOTIONAL INTELLIGENCE
    4. WRITTEN COMMUNICATION
    5. EMAIL
    6. SOCIAL MEDIA
    7. THE CALLBOARD
    8. FILE STORAGE AND SHARING
    9. BLENDING METHODS
    10. COMMUNICATION WITHIN THE THEATRE HIERARCHY
  12. CHAPTER 2 Principles of Document Design
    1. IDENTIFYING YOUR AUDIENCE
    2. INFORMATIVE OR INTERACTIVE
    3. PAGE LAYOUT
    4. FONTS
    5. FONT STYLE
    6. COLOR AND SHADING
    7. SELECTING COLORS
    8. ACCESSIBILITY
    9. ONLINE ACCESSIBILITY
    10. CONTINUITY
    11. WHAT’S IN A NAME?
    12. READY TO BEGIN
  13. CHAPTER 3 Pre-Production
    1. GIVEN CIRCUMSTANCES
    2. PERSONNEL
    3. LOCATION
    4. THE CALENDAR
    5. THE PRODUCTION CALENDAR VERSUS THE ACTOR CALENDAR
    6. FORMATTING THE CALENDAR
    7. ANALYZING THE PRODUCTION
    8. THE CHARACTER/SCENE BREAKDOWN
    9. CONTENT CONSIDERATIONS
    10. Listing Your Cast
    11. Scenes Versus Pages
    12. Page Numbers
    13. Identifying Scenes and Locations
    14. Key
    15. FORMATTING THE BREAKDOWN
    16. Guiding the Eye
    17. Shading Versus Color
    18. EXTRA CONSIDERATIONS FOR THE MUSICAL
    19. DISTRIBUTION
    20. MEETING WITH THE DIRECTOR
    21. SHOW INFORMATION
    22. MEETING THE PRODUCTION TEAM
    23. THE PROP LIST
    24. WORKING WITH THE PROP LIST
    25. SPECIALTY CHARTS
    26. AUDITIONS
    27. THE AUDITION FORM
    28. WHAT THE STAGE MANAGER CAN LEARN
    29. ANOTHER FIRST IMPRESSION
    30. ORGANIZING THE AUDITIONS
    31. THE CONTACT SHEET
    32. FORMATTING THE CONTACT SHEET
    33. THINKING ABOUT THE SM TEAM
    34. NEXT STEPS
  14. CHAPTER 4 The Prompt Book
    1. ORGANIZING THE PROMPT BOOK
    2. AN ARCHIVE, BUT NOT A HISTORY
    3. WORKING WITH MULTIPLE BOOKS
    4. PREPARING THE PROMPT SCRIPT
    5. THE BACKING PAGE
    6. A TRICK FOR THE SPLIT PAGE
    7. THE SCRIPT FOR THE MUSICAL
    8. THE HYBRID SCRIPT
    9. DANCE, DANCE, DANCE
    10. THE DIGITAL PROMPT SCRIPT
    11. READY FOR LAUNCH
  15. CHAPTER 5 Rehearsals
    1. FIRST REHEARSAL
    2. TABLE WORK
    3. MUSIC AND DANCE REHEARSALS
    4. BLOCKING
    5. PREPARING THE REHEARSAL ROOM
    6. MEASURING THE GROUNDPLAN
    7. The X-Y Method
    8. Triangulation
    9. THE MULTIPLE-LOCATION SET
    10. THE BLOCKING KEY
    11. Naming the Set
    12. PUTTING IT TO WORK
    13. BLOCKING FOR THE MUSICAL
    14. THE DAILY CALL
    15. CONFLICTS
    16. FITTINGS
    17. THE FIRST RUN-THROUGH
    18. ORGANIZING YOURSELF
    19. SCENE WORK
    20. LINE NOTES
    21. SAFETY IN REHEARSALS
    22. FIRST AID
    23. A SAFE STAGE
    24. EMERGENCY MEDICAL FORMS
    25. WORKING IN COMFORT
    26. THE HEALTHY REHEARSAL SPACE
    27. INTIMACY DIRECTION
    28. THE REHEARSAL REPORT
    29. ANALYZING THE REPORT
    30. CLARITY AND COMPLETENESS
    31. NUMBERING NOTES
    32. REPORTS FOR A MUSICAL
    33. PRESENTING THE PROBLEM, NOT OFFERING THE SOLUTION
    34. FINDING BALANCE
    35. DISTRIBUTING THE REPORT
    36. PRODUCTION MEETINGS
    37. MEETING MINUTES
    38. ADDING THE ELEMENTS
    39. UPDATING PAPERWORK
    40. REHEARSALS FOR DANCE
    41. CONCLUDING TIME IN THE HALL
  16. CHAPTER 6 Technical Rehearsals
    1. CREATING THE TECH SCHEDULE
    2. TYPES OF TECH REHEARSALS
    3. PREPARING FOR TECH
    4. SM LOAD-IN
    5. TECHNOLOGY FOR THE STAGE MANAGER
    6. DELEGATION
    7. WORKING WITH THE CREW
    8. THE PRESET LIST
    9. MORE ABOUT PROP TABLES
    10. THE SHIFT PLOT
    11. NECESSARY INFORMATION
    12. PROVIDING LANDMARKS
    13. DOCUMENTING THE MUSICAL
    14. FORMAT CONSIDERATIONS
    15. WHITE SPACE
    16. SHADING AND COLOR
    17. PAGINATION
    18. UPDATING THE SHIFT PLOT
    19. PAPERWORK VARIATIONS
    20. THE COSTUME PLOT
    21. FORMAT CONSIDERATIONS
    22. CUEING
    23. PARTS OF A CUE
    24. CUE NAMES
    25. PLACING CUES IN YOUR SCRIPT
    26. RECEIVING CUES
    27. SPECIFICITY IN A MUSICAL
    28. THE STANDBY
    29. THE CALLING KEY
    30. WATCHING, READING, AND TALKING
    31. WORKING ON HEADSET
    32. PARTNERSHIP WITH THE MUSICAL DIRECTOR
    33. TECH FOR DANCE
    34. THE ART OF IT ALL
    35. STEPPING UP TO RUN THE SHOW
    36. REHEARSAL REPORTS DURING THE TECH PERIOD
  17. CHAPTER 7 Performances
    1. PREVIEWS
    2. STOPPING DURING PREVIEWS
    3. REFINING YOUR ROUTINE
    4. THE RUN SHEET
    5. FORMATTING AND CONTENT
    6. RUN SHEETS FOR ASSISTANT STAGE MANAGERS
    7. OPENING NIGHT
    8. WORKING WITH FRONT-OF-HOUSE
    9. FORMAT
    10. THE PERFORMANCE REPORT
    11. CONTENT CONSIDERATIONS
    12. FORMATTING THE REPORT
    13. DISTRIBUTION
    14. CHANGING PERSONNEL
    15. MAINTAINING THE ARTISTIC INTEGRITY OF YOUR SHOW
    16. TECHNICAL CONSISTENCY
    17. GIVING NOTES
    18. WORKING WITH UNDERSTUDIES
    19. UNDERSTUDIES, STANDBYS, AND SWINGS
    20. UNDERSTUDY REHEARSALS
    21. PUT-IN REHEARSALS
    22. UNDERSTUDY DOMINOES
    23. FORMATTING THE PLOT
    24. NOT JUST FOR ILLNESS
    25. CHANGING CREW
    26. EMERGENCY PLANS AND PROBLEM-SOLVING
    27. TECHNICAL PROBLEMS WITH THE SHOW
    28. FACILITY PROBLEMS AND OUTSIDE FORCES
  18. CHAPTER 8 Next Steps
    1. MOVING THE PRODUCTION
    2. PREP FOR THE NEXT VENUE
    3. NEW AUDITIONS
    4. MAKING THE HANDOFF
    5. TOURING
    6. THE END OF THE LINE—OR IS IT?
    7. PAPERWORK FOR OTHERS
    8. STRIKE
    9. THE POST-MORTEM
  19. CHAPTER 9 Epilogue
  20. Appendix
    1. Actors’ Equity Association
    2. Other Information
    3. The Stage Manager’s Kit
    4. Emergency Announcements
    5. More Paperwork
    6. Web Resources
    7. Suggested Reading
  21. Notes
    1. Introduction
    2. CHAPTER ONE
    3. CHAPTER TWO
    4. CHAPTER Three
    5. CHAPTER Four
    6. CHAPTER Five
    7. CHAPTER Six
    8. CHAPTER Seven
    9. CHAPTER Eight
    10. Chapter Nine
  22. Glossary
  23. Author Biography
  24. Index
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