Chapter Thirteen
Prior to Opening Night
Looking Ahead
When everything has been made performance ready, it is time to start thinking about the run of the show. Once the show opens, the artistic integrity of the director, choreographer, and all the designers will be in your hands. As intimidating as this may sound, it will be easy as long as you plan ahead and communicate with each person before they leave. In the days leading up to opening night, plan on meeting one-on-one with each designer and technical director to discuss the protocol for anything that may happen during the run of the show and whose responsibility the notes will be. Make sure to include this in a report so everyone is on the same page.
Costumes
The most prominent upkeep for this department will be laundry. Discuss with your costume designer which pieces will need to be laundered and how (as well as how often), which should be vodka-sprayed, and which should be dry cleaned. Laundry duty will fall either to stage management or to the wardrobe crew, depending on the production. If laundry facilities are not available in the theater, come up with a plan on where it will be done, as well as a budget and method of payment (petty cash, reimbursement, etc.). Put together a laundry schedule so that all laundry is complete and dry before the next performance.
Vodka Water: this is just a simple mixture of vodka and water in a spray bottle that helps keep items sanitized and smelling decent without needing a full wash. It is often used on difficult-to-wash costumes and cuts down on dry cleaning costs. Some theaters or academic settings may not be allowed to purchase or have vodka on the premises, in which case Febreeze or Lysol spray may be used. Be aware of sensitivities or allergies to these chemicals.
The other item to discuss with this department is repairs. Decide who is responsible for minor repairs and who should be contacted to take care of any major repairs/damage. It is extremely beneficial for you or another member of the stage management team to be proficient in hand sewing to take care of minor repairs or for emergency fixes mid-show. Ask the costume designer to leave a basic repair kit backstage that includes a variety of needles, thread that matches the costumes, extra buttons, snaps, hooks, and safety pins. If renting costumes, get a rundown of what can be done to the clothing and always ask before doing any repairs yourself.
Never wash anything that is dry clean only or vintage unless specific instructions have been given, no matter what has happened to it. Arrange for emergency dry cleaning if necessary.
Scenic
Repairs and general maintenance are the big things to be prepared for in this department. Have the scenic designer and technical director walk you through the entire set and point out areas to keep an eye on through the run of the show. Be sure to have a good working knowledge of anything that moves, flies, rolls, or has potential to cause injury. Make sure that you have access to a basic set of tools (power drill, screws, hammer, staple gun, etc.) and paint for any touch-ups. Finally, discuss cleaning protocol for the set: what should be swept, mopped, vacuumed? How often?
Props
Props tend to break, go missing, or run out. While preventing the first two items on that list will fall primarily to your assistant stage managers or deck crew head, it’s important to keep an eye on all three. Keep particularly close watch on items that are rented or borrowed, as these need to be returned in good condition once the show closes. This is where keeping a carefully organized prop table is to your advantage. For expendable items, make a plan with your props master on how these are to be maintained. Take note of where and how replacement/refill items can be obtained, how often edibles need to be replaced, recipes for colored liquids, etc. Additionally, determine who is responsible for obtaining replacement items once the show opens, what the budget is, and how payments should be made (petty cash, reimbursement, etc.).
On any shows with weaponry, get in-depth training on how to properly handle, maintain, clean, and store all pieces. This information may come from the props master or from the fight choreographer. The fight captain should also be present for this discussion.
Lights
Much of light maintenance will probably fall to your board operator or master electrician. However, you should make a point to familiarize yourself with the light system, the plot, and the equipment being used. Have the lighting designer show you the location of the dimmer rack, lighting storage (for replacement lamps, gels, etc. in case of burn outs), run you through channel check, and show you the basic focus of the lights. Ask if there are particular instruments to watch out for: lights located on booms or on the floor that are likely to be kicked or bumped out of focus. If there is haze or fog being used, have them show you where it is located and what to watch out for if something malfunctions. Additionally, have a plan in place for what to do if you run out of fluid and add monitoring the fluid levels to your preshow checklist.
Sound
Like lights, sound maintenance will also likely be taken care of primarily by the board operator. Sit down with the sound designer and make sure you know the plan for sound check and if there are any cues you should be keeping a special ear out for. If microphones are being used, familiarize yourself (and at least one assistant stage manager or backstage crew member) with basic troubleshooting should anything come up pre- or mid-show (know how to change a battery, replace an element, switch frequencies, and where mic tape should go). Monitor the supplies for microphones as well: batteries, condoms (commonly used to help protect body mic packs from sweaty actors; if it falls to you to replace them, make sure you get un-lubricated), and mic tape. If mic belts are being used, consider throwing them in the laundry once or twice a week as well. If spare microphones exist, know where they are stored and how to put them into service if needed.
Direction, Choreography, and Vocals
In addition to technical maintenance, the directors will all be relying on you to maintain the show as they shaped it during rehearsals. At this point, you will likely be well acquainted with the commonly missed lines, the actor that likes to make up his blocking, the dance break that never quite got enough rehearsal time, and the harmonies that sometimes give you goosebumps but other times sound like dying cats. These you will know to watch out for, but take the time to sit down with each director (stage, music, choreography, and fight) and talk through what they would like you to look for. The performance will evolve and reshape itself slightly throughout the performances, especially in long-running productions as the actors discover and rediscover the play, and this is okay as long as it maintains the intentions of the directors. If things begin to vary too much from the original show, take note and inform the appropriate director of the change. Leave it to them to decide what action they would like you to take to address the issue.
Stage Management
Now that everything has been finalized, take the time to insure that all paperwork within your promptbook is up to date, clean, and legible. All finalized run sheets from crew members (including wardrobe) should be submitted to you prior to opening night so copies can be made and kept in the promptbook throughout the run. If anyone is ever out sick or has an emergency, the person covering their track has an accurate and reliable list to work off.
If you take these basic steps before opening, you will be much more prepared to maintain the show. More than anything, trust your instincts. You know this show better than anyone in the room, so you will be able to detect if anything goes wrong. Include any and all notes in the performance report (see Chapter 14—Performance Report ) so that designers can decide if further action is required for any given mishap. And, when in doubt, ask!