Chapter Three
The Theater

After becoming familiar with the script, it is time to get to know the theater staff, the other members of the production company, and, of course, the theater itself. This is an important time in the production process. This is time for first impressions as well as the time to find out whom you will be working with, what you will be responsible for, and where it all is. This is a great time to ask questions, find out how things have been done in the past, and any expectations for the future or new paths to explore.

Theater Staff

Every theater has a different number and type of staff. A few basic positions are listed below, but remember that titles and duties vary slightly from place to place and theater to theater. Some members of the theater staff are also members of the production artistic staff. Many smaller theaters may have one person in multiple roles. In Figure 3.1 we introduce several of the positions that a stage manager is most likely to interact with; it is, as you can tell from the diagram, not a comprehensive list.

Producer

Producers manage the overall financial functions of a theatrical organization, they hire and fire, sign paychecks, and typically have final say over all decisions. Producers frequently also have a large hand in season selection. Remember during all interactions with the producer that continued and future employment depend a lot on how you present yourself, how you handle the production process, and your overall attitude.

Artistic Director (AD)

Artistic directors maintain the artistic vision of the theatre company and production as a whole. Often artistic directors direct productions, but when they are not directing they will act as a resource for directors and the artistic staff. For companies that do not have a producer, the artistic director will typically fill many of the producer’s roles.

Production Manager (PM)

Production managers are responsible for the implementation and realization of the creative team’s artistic vision. The production manager typically acts as the liaison between the artistic staff and the director and will work hand in hand with the stage manager to insure that the rehearsal process and production process flow smoothly.

Technical Director (TD)

The technical director supervises and/or implements all technical aspects of a production. They are also, typically, in charge of the scene shop and all scenic construction as well as scenic load-ins and strikes. Many will act as the liaison between the stage manager and artistic staff if a production manager is not present within the company.

Costume Shop Supervisor/Manager

Costume shop supervisors/managers run the costume shop, building and/or pulling costumes to realize the costume designer’s vision. This position works closely with the stage manager to schedule fittings and provide rehearsal costumes (shoes, skirts, corsets, etc.).

Scene Shop Supervisor

Larger theaters have bigger staffs and there may be someone who is dedicated to supervising the day-today goings-on of the scene shop. This person may be able to keep you informed on the progress of the build and pieces needed for rehearsal or be a conduit to communicate more easily with the shop.

The Production Artistic Staff

Director

The director oversees the production. They provide the artistic vision that guides the designers and actors to create the world of the play. The stage manager works most directly with this individual and it is their job to partner with the director to insure the team follows the director’s vision.

Design Team

The team of designers creates the visual and aural world of the play; this process uses many different mediums, starting with visual and aural research, moving on to sketching, drawing, drafting, computer-aided drafting, rendering, and models, finally culminating in a realized design. Sometimes a single designer will perform multiple roles, other times only one. Communication with all members of the artistic staff is extremely important. All people involved in the process are busy and have feelings. Many designers tend to be very precious about their time and designs; phrasing a question in the wrong way can easily ruffle feathers, and getting to know the different personalities quickly will save many headaches down the road. Depending on the size of the theater, there may be associate and assistant designers as well. Associate designers are the designer’s right hand; they typically are heavily involved in the design process and can make executive decisions if the designer isn’t present. Assistant designers assist both the designer and associate designer. They interface with the shops and staff a lot, run errands, and deal with paperwork. Typically they cannot make final decisions without the designer’s approval.

Scenographer

A scenographer designs all elements of the production, creating a more holistic design. Instead of a design team consisting of individual designers, a single person creates the entire visual and aural world of the play. While uncommon in the United States, scenographers are still prevalent in Europe.

Scenic Designer

The scenic designer creates the visual world of the scenery (set), i.e., what the world surrounding the actors looks like (from an empty stage to the grand palace of the King of Siam). The scenic design heavily influences the blocking patterns of the production (where the furniture sits, where the doors and pathways are located, etc.). It is important to communicate with the designer constantly throughout the rehearsal periods as things are “discovered” in rehearsal and modifications need to be made. Small modifications such as furniture placement can happen throughout the process. However, large modifications cannot be made after the shop has begun the build process, so make sure the designer and director are communicating openly and clearly and speaking the same language (this will make your life easier down the road). The scenic designer is responsible for creating groundplans, elevations, renderings, and models. Always insure you are working with the most current drawings in rehearsal. It will adversely affect the process if the director and stage manager are working off of out-of-date drawings.

Costume Designer

The costume designer creates the visual world of the costumes, i.e., what each actor wears (clothing, jewelry, shoes, etc.). Just as with the scenic designer, what the costume designer chooses to dress the actors in will influence their movement around the stage. For example, if it is a period piece, the large skirts need to be taken into account in large group scenes. If an actress is in five-inch heels, they probably cannot run up stairs or perform really involved choreography, especially if they aren’t the most graceful, which is a helpful thing to figure out. The costume designer can also play a vital role in helping the actors discover and embody their characters by putting them literally and emotionally “in the shoes” of their character.

The costume designer is responsible for creating a costume plot, piece list (itemized list of all costume pieces), and renderings of the costumes. Depending on the show, there may also be a makeup and/or hair/wig designer, separate from the costume designer. This is common on period pieces or fantastical shows requiring specialized makeup and hair.

Properties (Props) Master/Designer

The props master/designer creates, buys, and/or finds hand props and set dressing to round out the world being created. They must coordinate closely with the other departments and designers to make sure that the props align with the cohesive vision of the production. It is important to communicate clearly and frequently with the props master/designer—they need to know how things are being handled, what additions have been made since the original lists were created, and any other pertinent information (the chair needs to be strong enough to stand on, the hairbrush should be blue, etc.).

Lighting Designer

The lighting designer lights the visual world created by the scenic and costume designers. They also add to and create parts of the visual world. Lighting designers are typically more in the background of the design process at the start, as much of their work is dependent on the other designers. However, it is important to keep them communicating with the other designers so there are no surprises for anyone further down the line. Lighting designers are responsible for creating the lightplot, selecting gel colors and gobos, and creating a cue list notating placement of lighting cues.

Sound Designer

The sound designer creates the aural world of the play (what the audience hears), whether that is the quiet ambience of a river in the distance or gunshots and car crashes. The sound designer is responsible for creating a sound cue list notating the placement of the sound cues. Sometimes the designer will also be responsible for creating and/or providing rehearsal sound cues.

Projection Designer

Just like every other designer in the process they are responsible for creating and designing the content that will be seen on the projection surface(s). A relatively newer field, projections are quickly gaining traction as an “easy, inexpensive” way to create scenery and locations. This is not to undercut the position of projection designer. The projection designer should furnish a cue list to the stage manager prior to technical (tech) rehearsals.

Music Director

Music directors work with the director to shape the music of a production. They can help make decisions about cuts in a dance break or adding a few measures to a vamp. Sometimes the music director assists with the casting process, lending advice about vocal ability to help the director make final decisions. They will teach the cast the music and, typically, play for the rehearsals. In some companies the music director helps find and engage the pit musicians. They are responsible for the technical singing and orchestral portions of a musical, and often are the orchestra conductor as well.

Choreographer

The choreographer creates the dances and movement patterns of the actors during musical numbers. Choreographers and directors work very closely during musicals and it is important that the rest of the design team understands the needs of the dance pieces (dancing on furniture, doing splits, etc.) so the costumes and set pieces can function as needed with the choreography. Depending on the director’s skill set, the director may also act as the choreographer.

Fight Choreographer

If the show includes any fight or battle sequences (both armed and unarmed combat), a fight choreographer may also be hired to insure the safety of all participants in the fight. Depending on the extent of the fight(s), the fight choreographer may only be present for a few rehearsals. Before leaving the production, they will assign a member of the cast to be the fight captain. This individual is charged with maintaining the integrity of the fights and, above all, insuring that they are being performed safely.

Other Staff Members

Assistant Stage Managers (ASM)

Depending on the company you may have assistants through the entire process, once you have started runs, or not until tech rehearsals start. Frequently the assistant stage manager is in charge of the deck (stage). It is important to have a good working relationship with your assistant stage managers because they will often be your link to what is happening backstage and your representative to the cast and crew.

Accompanist/Rehearsal Pianist

If the music director isn’t playing during auditions or rehearsals, an accompanist or a rehearsal pianist is used. It is important to take them into account when scheduling rehearsals and keep them in the loop about any scheduling updates. Whenever possible, let them know what will be worked on each day as well. This is a nice gesture and will allow them to better prepare for rehearsal.

Crew (Deck Crew/Fly Crew/Wardrobe Crew/Board and Spot Operators)

The crew work behind the scenes during tech week and for the run of the production to help create a seamless, smooth, and consistent show night after night.

The deck crew (also called “run crew”) work backstage, moving set pieces, setting props, pulling curtains, and anything else that must be done to make the set function. The assistant stage manager or the deck chief is responsible for running this team.

The fly crew are responsible for the operation of all flylines, which move the flying scenery in and out of position for each scene. One of the harder and more precise jobs, it requires crew members to move large, heavy pieces of scenery into place at a very specific time in order to avoid hitting cast and crew members maneuvering around during a scene change. Theatre is the only industry in the world that allows people to pass under large, heavy objects while they are in motion; as such it is very important everyone knows their job and proper safety procedures.

The wardrobe crew also work backstage, although typically they are in the dressing rooms, rather than in the wings. The wardrobe crew are responsible for helping with costume, hair, and makeup changes. They are also typically responsible for maintenance of the dressing rooms, as well as laundry duty. These crew usually work closely with the wardrobe supervisor.

Board operators run the lightboard and the soundboard. If the production calls for projections, sometimes a separate individual is hired to run this as well. These crew members work with the staff and/or designers to learn how to run the board, how to run system checks, and basic troubleshooting techniques should anything go wrong. Soundboard operators run mics as well as sound cues. Depending on the theater, they may be stationed in the house rather than the booth for acoustic purposes.

Spot operators run the spotlights. They work directly with the lighting designer to learn their cues and spot techniques.

The stage manager is responsible for calling out all board cues during the show. As such, they will be in direct contact with each of these operators, over headset, via cue light, or in the booth. Depending on the production, experience of the spot operators, and the complexity of the spot cues, the stage manager may call spot cues as well.

Dramaturge

Dramaturges provide information about the script, time period, writer, and anything else relevant to the production. They may provide a glossary if there are a lot of unusual words or find articles that give context to an aspect of the setting of the play.

Get In Their Shoes

This job entails interaction with and coordination of all of the aforementioned positions. In order to better connect and sympathize with each of these team members, try your hand at as many of them as you can! Take a course in directing and acting. Ask to attend a fittings session with the costume designer and wardrobe manager. Take a break from stage managing and ask instead to assist with lights or sound. Get on your work gear and spend a Saturday in the scene shop building. Shadow the choreographer or music director in a class or workshop. Many of these people will love to share their knowledge with you and will appreciate that you take an interest in their passion! More than that, it will give you invaluable insight into what their work is like, allow you to learn the terminology, and better equip you to coordinate schedules, anticipate issues between departments, and truly be the connecting fiber for the whole production team.

First Meeting with the Director

This is a very important step in the process, as it is the stage manager’s primary job to communicate the ideas of the director clearly to everyone else in the process and make sure everyone is on the same page. Plan this meeting as early as possible. Communication between the two of you will be much easier once this first meeting has occurred and you will be much more effective in your work once you know how the whole process is going to work.

Discussion Points

• What does the director expect from you?
  • How do they prefer to be addressed (first name, last name, nickname, sir/ma’am)?
  • What is the best way to reach him/her (e-mail, cell/office/home phone, call vs. text, face-to-face meetings)?
  • When is it acceptable to do so (no calls after 9 p.m., e-mail only during work hours, etc.)?
  • What role should you play in the rehearsal room? (Do they want or expect input from you or the room (cast)? Do they want you to start/end rehearsals? Are you expected/allowed to give notes? Should you give corrections during scene work or after?)
  • Do they want to start immediately on time or have a couple of minutes of friendly chat at the top of the day?
• Who will be making the rehearsal schedule? (Will it be made after the day’s rehearsal for the next day? Will it be made a week at a time? Does the director have a schedule for the entire process? How much should be sent to the actors? Will the director give you a list of things that they want to work and let you figure out when they fit into the day or do they want to work chronologically? Will rehearsals be split? Do they want to announce an off-book (line memorization) date?)
• Who will be running production meetings (depending on the theater, this may be decided by or up to the producer, artistic director, production manager, or technical director)?
• When would they like to start using rehearsal props? (Day one, after initial blocking, or once scripts are out of hands? Are there certain pieces that need to be the final prop?)
• When and how often do they want to build in breaks during rehearsal?
  • Many companies use the AEA standard breaks (a ten-minute break after every eighty minutes of rehearsal or a five-minute break after fifty-five minutes of rehearsal), although some directors will want to break after a section is complete.
  • How would they like you to get their attention when it’s time for a break (slide them a note, stand up, give a two-minute warning, etc.)?
  • When coming back from a break will they start immediately or need a minute to get back on track?
• Do they have any pet peeves (breaking mid-moment, actors that aren’t in the scene entering/exiting the rehearsal space, gum chewing, actors not wearing closed-toed shoes)?
• Discuss the director’s concept.
  • Have an in-depth discussion about the play. Make sure to discuss the plot, concept, and specific needs of this production. (For this reason, it is crucial that you come into this meeting having read the play and with an understanding of the characters.) Take notes.
  • Make sure you have an in-depth understanding of the director’s vision of the world of the play. Once the show opens, it will be your responsibility to maintain the artistic integrity of the show as envisioned by the director, so a clear understanding of their vision and concept is critical.
    • Academic productions typically differ in this respect because the director is usually present during the entire show process, so the stage manager may not be responsible for maintaining the integrity of the show.
• Discuss the design/production team and the role they will play with the specific production and company.
  • All designers, choreographers, music directors, technical director, etc.
  • This is also the time to discuss any assistant stage managers. Determine if you will have any and, if so, who is in charge of hiring them (stage manager, production manager, artistic director) and what their responsibilities will be for this particular production.
• Determine rules for rehearsals and the company.
  • Food and drink policies, noise and guests, sign-in procedures, emergency procedures, late policies, etc.
• Discuss what you expect from the director.
  • What is the best method for them to communicate with you (e-mail, cell/office/home phone, texting, etc.)?
• Establish a plan to meet briefly after every rehearsal. This is a good, consistent time when you will both be available to check in about the process and to discuss any issues or questions that arose during rehearsal. Daily communication is key to a successful director/stage manager working relationship (if post-rehearsal meetings are too difficult, find a time when you can both check in).

Tour of the Theater

Early in the process, request a tour of the theater. This will likely be conducted by either your technical director or the venue manager. You will be given a great deal of information on this tour, so it is in your best interest to take notes as you go. Here are some questions you may want to ask or make sure are addressed on your tour:

• Where is the rehearsal space?
• Is there a callboard? If so, where?
• Is there a separate stage manager/administration room/office?
• What is the protocol for locking up the theater? Which doors need to be locked, what lights need to be double-checked, etc.?
  • If there is security personnel, gather their contact information. Meet them in person, if possible.
• Does the theater have its own house manager and front of house staff? If so, gather the relevant contact information and meet them in person, if possible.
• How do you communicate backstage? Is there a headset or intercom system setup available? If not, how have past users of the space solved this issue?
• Are there monitors (broadcast an audio and/or video feed from the stage) backstage or in the green room and dressing rooms?
• Where are the controls for the work lights and the house lights?
• Are there any phones or alarms that need to be turned off or disabled during performances?
• What is the policy for theatrical smoke and haze?
• What is the policy on smoking or open flame onstage?
• What is the policy on the use of weapons onstage? Is there somewhere to lock the weapons away securely?
• What is the policy on food and drinks in the house? In the dressing room? In the green room?
• Locate walk-throughs and cross-overs (paths that actors can take backstage to get from stage right to stage left without being seen by the audience). In some rare cases this might be outside, which presents another set of challenges to work through.
• Heat/AC control? Is that the stage manager’s job or is the venue responsible for adjusting?
• Is there a back of house calling position or is the stage manager’s station backstage?
• Are any of the spaces shared? Off limits? What does this mean in regards to the rehearsal and production process? Are there “quiet” hours?
• What are the emergency procedures and policies? What is the venue’s policy regarding fire proofing?
• What are the parking policies? Are there specific lots/spots reserved for patrons only?
• Is there Wi-Fi available? What is the code, if necessary?

Rooms and Important Features

The Stage

This will be the main playing space for the show. As the stage manager, take the time to become as intimately familiar with it as possible. Learn where the floor squeaks or is uneven, how to keep it clean (the best mopping and sweeping patterns to get the most dust, where to vacuum), where the best backstage hiding spots are for props and actors, sightlines for the audience, the quirks of the curtains, what doors squeak or slam, and anything else that may help, impede, or otherwise impact the production. The more you know, the better the production can be shaped to best fit in the space.

Scene Shop

Depending on the layout and size of the theater, the scene shop may be an important part of the rehearsal or production process, whether it acts as a rehearsal space during the rehearsal period or storage and a pass-through during production. Determine the need and usage of the space to plan for time and staff to clean, clear, and maintain the scene shop as needed relating to rehearsal and performance. Some scene shops are located off-site. In this case, transportation of the scenery to the theater for load-in will have to be coordinated. This usually falls to the technical director or the production manager to handle, but is good to take into consideration.

Costume Shop

Depending on the layout and size of the theater, the costume shop may be an important part of the production process. It may act as dressing room space or wardrobe space, and typically houses the laundry facilities and supplies that will be used to perform costume maintenance during the run of a performance. If the costume shop is used as a dressing room space, determine what steps must be taken to keep the shop in working order during non-production times.

Dressing Rooms

It is important that the dressing rooms are kept neat and orderly throughout the entire production process. While it is the actor’s personal space, it still needs to be kept clean and usable. Typically, (depending on the theater’s policies) no food or drink should be allowed in dressing rooms or anywhere near costumes (water in a closed-lidded bottle is acceptable). Find out if dressing room maintenance is the stage manager’s responsibility or if it falls to the wardrobe crew (if one exists).

Booth (Control Room)

This is the room or place in the theater where the lightboard and soundboard are located. In many theaters, the booth is where the stage manager will be stationed during shows to call cues and oversee the performance. This area may also house the theatrical systems for the theater (dimmer racks, amplifier racks, control computers, etc.). This is typically one of the more secure areas of the theater because of the amount of equipment contained in it. Occasionally, there will instead be a podium or station backstage, sometimes referred to as the prompt corner. This often includes a desk (prompt desk) and a monitor, as audio and video are important to allow the stage manager to see and hear the cue lines. Determine who has keys to this room/area and how it is secured.

The Callboard

The callboard is where the company goes for important information regarding the production. It is often a corkboard or similar bulletin board and is placed in a centralized location easily accessible in the theater. Common places are in the green room or right inside the stage door. The callboard should include a daily sign-in sheet, the rehearsal calendar, the daily/weekly rehearsal schedule, fittings schedules, and important notifications or announcements. In professional union productions, this will also include some paperwork as required by the Actors’ Equity Association. Keep the information on this callboard up to date and consistent with any information distributed electronically or verbally. Actors can be forgetful and this gives them a place to check for correct information without always having to ask their stage manager first hand. If a board doesn’t already exist, scout out the best place for one and plan extra time and materials to make one before load-into the theater.

Rehearsal Space

In many cases, the performance space will not be available to use until tech week, so rehearsals will take place in a secondary location. Just as with the theater, you will be responsible for preparing and maintaining this space. Once rehearsals are moved to the performance space, be sure to leave the rehearsal space in a clean, usable condition for the next production. This includes removing (“pulling”) spike tape, sweeping and mopping, emptying trash, etc.

If the rehearsal space is rented or used by multiple productions or classes, check with the staff or renter to dictate appropriate use of the space, as well as how the space needs to be left at the end of each rehearsal. Follow these rules carefully and maintain a strong and positive relationship with the owners and fellow users of the space. Doing so is not only courteous, but will also increase the likelihood of being invited back for future productions and being granted some favors (such as storage space for props, ability to leave tape on the floor, use of in-house props/ furniture, etc.). Remember to treat rented spaces just like you would treat your own personal space (or better); many of these rentals have security deposits just like apartments and even small things may cost the company money.

Prop and Costume Storage

Most theaters have a storage area or facilities where costumes, set pieces, furniture, and hand props are stored. This is where rehearsal props, costumes, and furniture can be pulled. It is important to ascertain whose responsibility that will be and the proper procedure to get access and check things out as required by the theater staff. In many cases this facility is off-site and arrangements for access or transportation of things may need to be made. Plan ahead for this.

Keys

Typically stage managers will be assigned a ring of keys or a key card to allow access to all necessary spaces. In most places it will be the stage manager’s responsibility to make sure that all spaces are closed and locked once the last person leaves the building. Determine whose responsibility it will be to lock up and what needs to be done to shut down after rehearsal (turn lights off, lock access doors, shut down light and sound systems, etc.). Security is high priority, so keep careful track of keys and be diligent about checking all doors when locking up for the night. Of the production staff, the stage manager is typically the first in and the last out. If the building has additional security staffit is important to meet them and introduce yourself, since you will often be there early and late. Occasionally, when the venue is rented, the stage manager will not be issued keys. In these cases, the venue’s house manager is typically responsible for unlocking and locking the building. If so, introduce yourself to these individuals and be sure to have their contact information. Keep them informed of the schedule and confirm what time you need the venue to be unlocked each day.

Cleaning Supplies

General maintenance of the space also falls under the stage manager’s job description in many theaters. This primarily includes sweeping and mopping the stage, as well as keeping the theater neat during the rehearsal and performance period. As such, be sure to locate brooms, dustpans, mops, vacuums, trash-cans, and utility sinks. Find out the location and accessibility of dumpsters. If renting a space, determine whether you (the theatre company) or the venue will be responsible for providing supplies such as trash bags, bathroom items (soap, paper products), etc.