Chapter Two
Preliminary Steps
The production process can be a very hectic, fast-paced environment. Rehearsals can be extremely short (two weeks), very long (nine to ten weeks), and anywhere in between. It will depend a lot on the environment the theater is in. In the academic environment, the labor and personnel budget are not typically an issue, so the rehearsal process can be longer but the production may only run for a weekend or two. Conversely, if the theater is paying production staff and actors, then typically the process will be shortened to keep costs to a minimum. The production periods will be the exact opposite: a shorter rehearsal process and a longer run (to gain revenue). The following section talks about the steps needed to get prepared for the production process as a whole: educating oneself on the different types of theaters and theatrical terms, how to familiarize oneself with a script, start generating paperwork, and be ready to move on to the next steps in the process.
World of the Play
The world of the play sets a production in a specific context with particular rules, established by the director, to govern this specific production’s concept and vision. These will guide the design team to create a cohesive production, where all of the elements fit within the world (style, concept, vision). The world of the play dictates a lot about the play, including the style (i.e., realism, expressionism, etc.) and the rules or “guidelines” (i.e., do ghosts exist?, can characters interact with them?, or are they only visible to the audience?). The world of the play is production specific, a play can be interpreted differently in each production, and the world of the play will change from production to production, i.e., Disney’s Alice in Wonderland vs. Tim Burton’s Alice in Wonderland.
The world of the play is typically created out of a director’s concept statement or concept meetings with the director. The director takes into account many different elements and principles of theatrical structure and process. Using basic script analysis the director decides what this particular production will focus on. They analyze what the dramatic structure of the play is (the rising action, the climax, etc.), and also must have a good working knowledge of Aristotle’s The Poetics so they can better understand the elements of the script and then in turn communicate that to the production team. The production and design team then takes this concept and any additional information and creates a visual and aural world of the play that matches the director’s vision. Many times this will be a somewhat lengthy process with many conversations, revisions, and meetings.
Types of Theaters
Theaters come in all shapes and sizes, configurations and layouts, locations and areas. It is not possible to discuss all the different iterations of theaters that exist, but here are the five main types. These types may be found in buildings built expressly for the purpose of live theatre, or buildings that were modified to be theaters. Each type has its own advantages, challenges, and unique features. Being armed with this knowledge before embarking on a production will help with preparation (see Figure 2.1).
Proscenium
Proscenium theaters make up the majority of theaters in the world. With the audience only on one side of the action, and lots of space for actors to enter and scenery to live, this makes for larger scenic elements and bigger dance numbers. The oldest type of theatrical structure, the historical beginnings of the proscenium stage, started back in Greek theatre. A proscenium arch—a frame that encompasses the stage and guides the audience to the action taking place onstage—is the biggest feature of this type of theater.
Thrust
Figure 2.1 a. (top left) Proscenium Theater, b. (bottom left) Thrust Theater, c. (top right) Arena Theater, d. (bottom right) Blackbox Theater
A thrust stage typically has the audience on three sides. Thrust theaters typically have smaller scenic elements because the audience needs to be able to see across the stage and large elements will obstruct their view on the sides. Some thrust theaters are old converted proscenium theaters, and still have the arch and a lot of the upstage space which can be employed for larger scenic elements, entrances and exits, as well as storage. In the thrust environment the actors may have entrances through the audience called vomitoriums (voms for short). Many thrust theaters allow for a more intimate playgoing experience, due to the proximity of the actors to the audience. Most thrust theaters are smaller spaces, typically under 400 seats.
Arena
In arena theaters (also called “Theater in the round”), the audience surrounds the entire stage. There is no “upstage” and “downstage” but rather the action takes place in 360 degrees to cater to the whole audience. Arena theaters typically have minimal scenic elements so as not to obstruct the audience’s view. Projection is being used in arena theaters with increasing frequency (to augment the existing scenery). While acting in the round the cast will always have their backs to some part of the audience.
Blackbox
A blackbox is a typically square or rectangular room usually painted completely black, hence the name. It is created to be a “flexible” space, designed to be set in any of the above configurations. A more intimate setting, most blackbox theaters seat a maximum of 200 people. Blackbox theaters, depending on the configuration, can have a wide variety of scenic elements and tend to have their own set of quirks when it comes to entrances and exits, and the storage of scenic elements.
Site-Specific or Environmental
Site-specific or environmental theatre is produced “on-location” in a venue that fits the style and vision of the production, e.g., a play about a mental hospital taking place in an old mental hospital, or a play in a bar actually happening in the local bar.
The fourth wall is the imaginary wall that exists between the audience and the actors; some productions “break” the fourth wall by interacting with the audience or bringing them into the production in some manner.
Stage Directions
In order to be able to communicate properly with the actors and the production team everyone must be speaking the same language. In theatre we use stage directions to talk about the theater, where things are happening, and where they will be going. Stage directions can take a bit of getting used to but overall one gets used to using them after a few productions and they become second nature. The most important thing to remember about stage directions is that they are always based on the actor’s point of view looking toward the audience. Looking out toward the audience the actor’s left becomes stage left, their right stage right. Now moving away from the audience, that is called moving upstage. Historically, theaters had raked stages with the higher end farthest from the audience, meaning actors literally walked up when moving in that direction. Moving closer toward the audience is called downstage. Based on the configuration of the theater and the size of the space, these directions can be further divided into downstage right, midstage right, upstage right, etc. (see Figure 2.2).
Figure 2.2 Basic Stage Directions
When working in the round (arena) sometimes it is helpful to arbitrarily choose a “downstage” to help facilitate consistency and understanding of where the actors and scenery are in a space. Using clock designations also works well, with 12 o’clock being downstage and 6 o’clock being upstage and so on.
Script
Reading the Script
The more knowledge a stage manager has about the script (and score, when applicable), the better prepared they will be for the upcoming production. As such, the very first step after being hired for a show is to obtain a copy of the script and start reading. When preparing for a production it is important to read the script a minimum of three times. This insures intimate familiarity with the script, enabling the stage manager to best serve the production. The excerpt below contains a world of information in the first few paragraphs that can really enlighten the stage manager and creative team. (see Figure 2.3).
The First Read—For Literary Purposes (Plotline, Enjoyment)
This is the time to read the script purely for its literary value, for the reader’s enjoyment, and to get an overall feel for the scope and mood of the text as the audience will receive it (most audience members only see a production once, so it is important during the production that the audience gets a great “first read”). During this first read, don’t think too much about the requirements of the script or production. That is what later readings are for. Read purely for enjoyment and understanding.
Figure 2.3 Of Mice and Men by John Steinbeck From Of Mice and Men by John Steinbeck, copyright 1937, renewed 1965 by John Steinbeck. Used by permission of Viking Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC.
The Second Read—Preliminary Notes
This is the time to take preliminary notes, including where problem spots might be, any quick costume changes, odd set/prop/costume requirements, sound effects, etc. Note taking is different for everyone, but write either directly in the script or on a separate notepad (depending on whether it is the only copy of the script, a rented script, an electronic copy, or a full-sized copy). Note anything and everything that could impact rehearsals or the production. Always include the page number, act, and scene in these notations. You will thank yourself later on when you don’t have to go back searching through your script. Color-coding the notes by department can also be helpful.
A great Excel template for preliminary notes can be found at www.sm-sim.com/sm-kit.html.
The Third Read—Production Analysis
A production analysis is a detailed overview of the full script, taking into account all aspects of the show (scenery, lights, sound, props, and costumes). This should be compiled on your third read-through of the script. This is the point when you add specificity to your preliminary notes (e.g., not only do you need a newspaper on page 5 but the headline should be “Extra, Extra”). As you are compiling, be sure to note relevant items both in your paperwork and in the script itself. This additional step will help immensely with initial rehearsals and keeping track of rehearsal props, sound effects, etc. Be sure to look in both the text and the stage directions; indications of these things can be given in either location (see Appendix A).
The production analysis should be a living document. Keep a copy in your promptbook for reference and keep it updated throughout the rehearsal process as things change to fit this particular production.
Textual Stage Directions
In addition to navigating the stage, the term stage directions can also refer to anything in italics in a script. These may have been written directly by the playwright with the intention that they be followed. However, just as likely, they were written by the stage manager of the first production and relate specifically to that original production. There is no guarantee that any information given in the stage directions was originally intended by the playwright or will be used by your director. For this reason, be sure to keep careful track of whether something has been indicated in the text or in the stage directions. The place to indicate this would be in the “Notes” section of the props list.
Scenery
Take note of any and all stage directions, lines, etc. that would have an effect on the scenery (including time of day, year, date, presence of windows, etc.). Additionally, take note of props and set pieces that need to be practical or functional (e.g., a window that opens or a closet that needs to hide three people). At this point in time there is no set designer involved, it is simply the information from the text. The production may end up without all scripted set pieces, but to start out and properly prepare, assume everything will exist.
Lights and Sound
Take note of any and all stage directions, lines, etc. that would have an effect on lights and/or sound (including time of day, year, date, windows, ambience, etc.). Note use of any practical lights or sounds onstage (lamp, phone, radio, etc.). Also, note any scripturally indicated lighting shifts (stage directions or text). Remember that some things affect multiple aspects of design (e.g., an open window might also require sound effects of street noise). It is especially important to mark, in your script, any sound cues that you will need to provide during rehearsal. Typically, this is any sound that affects the action of the scene (e.g., a phone ring, a doorbell, a gunshot, etc.). Ambient background sounds or soundscapes are not generally required for rehearsals.
If the script refers to the directionality of the light or sound, note this as well.
Props and Costumes
List any props and costumes indicated (either in the text or in the stage directions). Include which character(s) handles the prop or wears the costume piece and when it comes onstage and offstage. If multiple characters handle the same prop or costume piece, make a note to determine whether this will be the exact same piece or if there will need to be multiples to avoid messy tracking of the items later. This list will give you an idea of what rehearsal props you will need. Also, keep an eye out for places where quick changes, handoffs, catches, or tracking may occur and take note of these as well. Quick changes may happen between scenes or in the middle of a scene. If possible, having a few rehearsal costume pieces available is helpful.
Take particular note of hand props and personal props that are used. If it is the stage manager’s responsibility to gather rehearsal/stand-in props, it will make the job that much easier.
Props
If you organize these lists by character, page number, scene, etc., they will translate nicely into a preset list (or costume/ prop list) later on in the process.
Props are considered to be anything movable or portable on a set. Any item that cannot be classified as scenery, electrics, or wardrobe falls under this category. Furniture is considered a prop in most theaters, although there are some exceptions. Props that are handled by the actors (e.g., cups, books, pencils) are known as hand props. Props that are kept in an actor’s possession (e.g., pocket watches, fans, canes) are known as personal props. Items that are usually untouched by the actors (e.g., mirrors, vases, lamps, picture frames, window dressing, rugs) are known as set dressing.
Some personal props may also be considered costume pieces and will be handled by the costume designer depending on the theater and the item. Similarly, depending on the production and the items, set dressing may fall to the scenic designer. If it is uncertain whether something falls under the “prop” category, the “costume” category, or the “scenic” category, make note of it and address it during a production meeting. Establish early on who will be responsible for obtaining that item and whose budget it will fall under. Stay on top of these items. If a particular team isn’t given responsibility for the item, it will likely fall through the cracks or be forgotten about until the last minute. If it falls to multiple teams, remind both parties of it often and make sure it is being addressed.
Pay particular attention to the props in the show. Typically, these are the aspect of the script that will be changed the most to fit each particular production. Since most of these changes are decided in rehearsals, the stage manager will need to keep careful track of them and make sure they are all clearly communicated to the props master. The stage manager may also have a hand in dealing with props, as they are often responsible for obtaining and keeping track of rehearsal props as well as tracking the props as they move around and onstage/offstage during the show. For these reasons, it can be beneficial to maintain a personal props list, separate from the master list maintained by the props master. Schedule regular check-ins with them throughout the process to confirm that both lists are accurate and up to date (see Appendix A.1).
After the preliminary prop lists are made, it is important to go over them with the director (who may have a list of their own). Sometimes they can tell you right away whether they are planning to use something or not.
Expendables
Make note of perishable props that will require multiples throughout the run. Always insure that there will be extras; if the text calls for one shattered vase, make sure that there are enough extras for all performances, as well as rehearsals and accidents.
Some examples of expendables are:
- Paper that will be written on/ripped up/crumpled;
- Edibles and drinks;
- Breakables (not everything that could break, but things intentionally broken or disfigured during each performance, e.g., vases that need to be shattered or clocks that need to be smashed).
In some scripts, there will be a props list provided at the end of the text. Just as with the stage directions, this is a list that has usually been compiled by the stage manager of a particular production. This means that, while it can provide a good starting place for your list, it should by no means be relied upon to be complete or correct for the script. It may skip some props or add some according to the needs of that particular production. As such, always make and maintain your own list based on the text.
Scenic Breakdowns
The next piece of paperwork you need to complete is a scenic breakdown. A scenic breakdown outlines each Act and Scene as it is divided in the script and details which pages it is on, the locale of the scene (if indicated), which characters are onstage (or speaking/singing offstage), and a short description of the action. For musicals, it also details which musical numbers are in each scene. This step will assist in the scheduling of rehearsals (for easy identification of who needs to be called for each scene). It also gives you a simplified visual breakdown of the play to help keep things straight while you are still familiarizing yourself with it (see Appendix B).
Depending on the script and on your rehearsal needs, you may find it useful to make a French scene breakdown. French scenes are delineated by any entrance/exit of an actor (there may be multiple French scenes in a single book scene). This type of breakdown is useful for plays that are not broken down into acts and scenes (see Appendix B.1).
Once complete, share the production analysis and scenic breakdown with the rest of the production team. This will give them a good starting place, as well as an opportunity for everyone to compare notes and make sure that no design elements are overlooked.
Basic Tools and Supplies
There are basic tools and supplies that all stage managers should invest in. Listed below are a few of the more critical ones. For a complete list, see Stage Management Kit (p. 50).
Office Supplies
A good stage manager is never without a full stock of office supplies. From pens, pencils, and highlighters to paper, sticky notes, a hole punch, and a stapler, all will become critical to have on hand. Invest in high-quality supplies for your own use, as well as cheaper extras of everything to provide for your team. Inevitably, the actors will forget a pencil, the director will forget notepaper, and no one will ever have an eraser. Usually, the stage manager can (and should) be reimbursed for shared office supplies, so be sure to keep receipts for these purchases.
Back-to-school season is a great time to stock up on office supplies.
Tape
As a stage manager many different types of tape are required for different purposes and jobs. Gaffers (gaff) tape, spike tape, glow tape, and Marley tape will be the four most heavily used tapes. These are often available from the venue and are kept in a secured storage location when not in use. If not, they will likely be purchased out of the stage management budget.
It is a good idea to invest a little money into a personal tape stock, but be careful to get reimbursed for the tape you use, as it gets expensive quickly. One roll of gaff tape and a couple colors of spike tape are a good starting place; glow tape and Marley tape are good additional items to have around.
Tools
Similarly to office supplies, there are a few standard tools that a stage manager should invest in. These include a high-quality 30-foot tape measure, a flat reel cloth or metal tape measure, a screwdriver (with both Phillips and flathead options), a utility knife, a stopwatch, and an architect’s scale ruler. Also highly recommended are a multi tool, a hex key set, and a power strip.
Scripts
Scripts will typically come from the director, artistic director, production manager, company manager, or technical director. For some productions, especially musicals, the scripts and scores are rented and must be returned; for other shows, the actors may keep the scripts. You should ascertain what will happen to the scripts at the end of the production. If they are to be returned, make sure the date of return is clear. If scripts must be returned, number each script or score in pencil and have the actors sign them out in order to keep track of which actor has which script (this sign-out sheet can also double as a damage waiver with a few added sentences) (see Appendix C). Keep a list of this information in your promptbook and a secondary copy with the packing list provided in the shipment of the scripts. Additionally, remind actors (and musicians, when applicable) that only light pencil marks are allowed on all rented scripts/scores and all marks MUST be erased before return. It is your responsibility to double-check that all scripts/scores have been erased once returned and prior to shipping. Whenever possible, keep an extra copy of the script in your stage manager’s kit for when a new team member suddenly comes on-board or when an actor forgets his script. Make sure this script is kept updated with all script changes if any occur.
Even if the company does not have a damage policy, the suggestion of a fine usually tends to keep people more honest.
Online Resources
There are a number of online resources that you can utilize for your production. These can make sharing documents, calendars, scripts, etc. much easier. Check with the theater to see what resources they already have in place or are used and begin there. Here are a few commonly used options.
Cloud-Based Storage
An online resource that stores all data in the cloud, allowing everyone on the team shared access from all of their devices. If the company isn’t already using some sort of cloud storage, it would be a good idea to set it up, as it makes communication and collaboration much easier. There are numerous companies that offer cloud-based storage, so explore the options to find which works best for you and the company. Below are two that have been used with great success.
It is important to remember to copy things from Dropbox, not drag and drop. Files on Dropbox don’t automatically duplicate like with other programs. If a file is dragged out of Dropbox onto a user’s computer, it is removed from Dropbox entirely. Remind the others shared on the folder as well.
Dropbox
A Dropbox can be created for every production so that research, ideas, paperwork, and reports can be shared and easily accessed by all members of the production team. The size limitation of the free accounts can be prohibitive for storing multiple large files.
Google Docs
An alternative to Dropbox is Google Drive. If your team primarily uses Gmail, this can be a very easy way to share documents that can be accessed anywhere with Internet. Some nice things about Google Drive is that the space is unlimited if the documents are created using the program, you can easily see when other people have edited the document, and you can also simultaneously edit a document with other users and see their progress. You can also customize how much or how little each person can interact with the document (from full editing capabilities to just reading), to avoid accidental changes.
Calendars
Ensuring that everyone in the process is working from the same schedule and keeping it updated typically falls to the stage manager. Having an easily updatable and accessible calendar will save time and energy for the entire team. Posting the rehearsal schedule on this calendar is a great way to make sure everyone has access to the information without having to constantly contact you.
Google Calendar
Google Calendar is a great tool for creating a rehearsal and production calendar. Google calendars can be easily shared with the production staff and actors and are easy to access and sync from mobile devices, as well as interfacing well with most desktop calendar programs.
Microsoft Exchange
If the theater utilizes a Microsoft Exchange system, the calendar within Microsoft Outlook also works well, but it doesn’t always play as well with other platforms so use with care.
Scheduling Resources
Scheduling is a huge part of the stage manager’s job, and any tools to help wrangle everyone’s schedule will make your life easier and more productive.
Meeting Wizard
www.meetingwizard.com is a great way to find open times in team members’ schedules, and send meeting reminders.
Doodle
www.doodle.com is another option similar to Meeting Wizard and easily allows for finding open time in all team members’ schedules.
Other Resources
Google Sites/Wikispaces
Google Sites and Wikispaces are both great places to create an online callboard. These can also provide an easily accessible place for pages that have important information.