Chapter Six
Pre-Production

Getting Organized

Once the show has been cast and the artistic team has been selected, there is some preparation that must be done before beginning the production process. Once the production is underway, things will be hectic, constantly changing, and time will slip away quickly. The best way to prepare for this inevitability is to take steps to over-prepare as much as possible before the process begins. This step, often referred to as “prep week,” involves creating the promptbook, preparing paperwork, creating the rehearsal schedule, preparing the space for rehearsals, and restocking the stage manager’s kit.

The Promptbook

The first step in any prep week is creating the promptbook. The promptbook, sometimes called the “Show Bible” or “The Book,” is a binder containing any and all important information pertaining to the show. This binder is put together and maintained by the stage manager. Typically, this will require a rather large binder (anywhere from 2 to 5 inches depending on the show). It is best to use a view binder (the kind with a plastic sleeve around the outside), so a cover page and spine label can be used to easily identify it as the show promptbook. Use binder tabs or dividers to separate the major sections (e.g., Cast Information, Script, Rehearsal Reports, etc.).

Promptbooks will vary from production to production, but by show time will usually include the following information.

Promptbook Checklist

1. Cast Information
   1. Cast/production team contact sheet
   2. The original or copies of the audition forms
   3. Script sign-out sheet
   4. Emergency contact forms (for everyone in the rehearsal room)
   5. A copy of the company handbook, if one exists
   6. Copies of any research/dramaturgical materials handed out to the cast throughout the production
2. Schedules and Calendars
   1. Production calendar: cast—includes rehearsals, performances, costume fittings, off-book date(s), and any additional scheduled events involving the cast or crew, etc.
   2. Production calendar: production team—includes production meetings, important rehearsal dates (run-throughs, tech rehearsals, etc.), performances, and the deadlines for all design elements
   3. Rehearsal schedule—detailed breakdown of each rehearsal (usually by day or by week, depending on the production)
   4. A conflict calendar—summary of all actor conflicts
3. Script
   1. Entrance and Exit flow chart
   2. Scene/character breakdown and/or French scene breakdown
   3. Blocking symbol/shorthand key—for anyone needing to decipher your blocking notes
   4. Blocking script—including all blocking notes
   5. Calling script—a clean copy of the script with cues written in the margins (might be the same as the blocking script)
   6. Music score (if show is a musical or has any songs)
4. Props Information
   1. Complete prop list—you may also want to indicate here which props are built, bought, borrowed, etc. for reference during strike
   2. Prop preset—this indicates where all props should be placed at the top of the show
   3. Run sheet—indicates scenic shifts and costume changes (usually only quick changes or complicated ones that are relevant to the run crew). This also tracks prop movement throughout the show
5. Scenic Information
   1. groundplan—clean copy, to scale
   2. Furniture list—you may also want to indicate here which furniture was built, bought, borrowed, etc. for reference during strike
   3. Any sketches or renderings that may be relevant to a rehearsal
6. Lighting Information
   1. Information and schedules
      1. Channel hook-up, color lists, instrument schedule, light cue list, light plot
7. Sound Information
   1. Sound cue sheet (this should be provided to you by the sound designer)
   2. Mic plot (if mics are used)—this lists which actor has which mic and tracks if mics are swapped during the run of the show
   3. Speaker plot—this shows the location of all speakers and monitors in the production and relevant information for troubleshooting purposes
8. Costume Information
   1. Costume plots/piece list—breakdown of characters by scene and each item that is worn (this should be provided to you by the costume designer)
   2. Costume sketches, if available
   3. Any special instructions regarding cleaning/maintenance
9. Rehearsal Reports
   1. Print hard copies of all rehearsal reports to keep on file
10. Performance Reports
    1. Print hard copies of all performance reports
11. Production Meeting Agendas and Notes
    1. Print hard copies of all production meeting agendas and reports to keep on file

Once production begins, the promptbook should never leave the theater. In case of an unfortunate event where the stage manager cannot attend a performance (e.g., catastrophic injury), the promptbook needs to be available and organized for the replacement. The show must go on!

Paperwork

In order to keep track of the massive amounts of information that the stage manager must be responsible for, paperwork becomes one of the top priorities. When preparing for a show it is important to use your prep week to complete, partially complete, or make a template of all the paperwork needed for the production; the stage manager can save time and mental energy later in the process that will be needed for other tasks. Use the Promptbook Checklist as a reference for what paperwork you will need to create. Some templates and paperwork samples are provided in the appendices of this book. Additionally, there are many websites and other stage management books with further examples (see Suggested Readings, p. 177). Try out multiple versions and find or create the templates that work best for you.

After selecting templates for all of the paperwork, the next step is to customize them for the production. Each page should include not only the name of the production, but also a few other consistent pieces of information, including the stage manager and their contact information (e-mail and phone number), date, and page __ of __. Some stage managers also list the director and the name of the production company. In addition to consistent information, paperwork should use only one or two common fonts (e.g., Times New Roman, Arial) that are consistent between all documents for each show. It is fun to choose a “show font” for the show title (one that is a bit more whimsical and matches the mood and style of the production) and then a standard, legible font for the rest of the document. This will make them easily identifiable and easy to read, and will create unity among the paperwork.

It is good practice to include the date in the name of any distributed documents so that everyone is sure to be working from the same document (e.g., Grease Rehearsal Report 9.14.pdf). This is especially important with calendars/schedules, when working off the most updated information is of the utmost importance. If multiple reports are distributed on the same day, for example a two-performance day, distinguish these in some way as well (e.g., Sylvia Performance Report 2.2 matinee.pdf and Sylvia Performance Report 2.2 evening.pdf). If it is the same report with updated or corrected information, include UPDATED or REVISED in the title.

Scheduling Rehearsals

Prep week is also when the stage manager and the director will put together a rehearsal schedule for the production. Most theaters generally work on a semi-set schedule that is adjusted depending on the conflicts and the availability of the actors for a specific production (e.g., rehearsals are always 7:00 p.m.–10:00 p.m.). Bring the scene breakdown, any known conflicts, and some scrap paper. As you are scheduling, you should confirm everyone needed for a call; sometimes the director will only want to work with some of the actors in a scene (especially with musicals—confirm whether they want to work just the song, just the dance, the book scene, or the whole thing). You may also be scheduling separate vocal work, dance calls, or measurements/fittings. In many cases, these take place simultaneously with the regular rehearsal. The stage manager is often relied on to carefully arrange these rehearsals and fittings such that no actor is accidentally scheduled to be in two places at once.

It is the stage manager’s job to go through the audition forms and compile all actor conflicts. It can be beneficial to create a conflict calendar rather than just a list. Bring these to the scheduling meeting and try to create a schedule around these conflicts. Make sure the actors know that, as much as possible, their conflicts will be worked around but that not all conflicts will be able to be accounted for. Include a note on the audition form that any conflicts not included on the conflict sheet may not be excused. Any unexpected conflicts are handled on a case-by-case basis and are usually decided upon by the director, stage manager, artistic director, and producer as needed.

Once the rehearsal schedule is complete, distribute it to all members of the team. The production team (including the director) should be given a production calendar that includes production meetings, design deadlines, run-throughs, tech rehearsals, dress rehearsals, and performance dates. Actors, stage management, and the directors should be given a similar production calendar that includes rehearsals, costume fittings, tech rehearsals, dress rehearsals, performance dates, and any other miscellaneous events that include the cast. They should also receive daily schedules that include details on what will be rehearsed each night (scene(s), act(s), which actor(s)/character(s) are required, music/choreography/ fight calls, etc.). Copies of all three of these schedules should be posted on the callboard and kept in the promptbook. Remember to keep all of these schedules updated throughout the process. Online calendars can help keep things up to date, but can also create their own set of problems so use with caution (see Appendix F, F.1).

Rehearsal Reminders

So, a beautiful rehearsal calendar has been created with everything color-coded and neatly laid out for easy comprehension. It has been distributed electronically and physically, and posted in multiple locations. Now everyone knows exactly the where and when of each rehearsal and there will be no confusion, right? We all wish. To help prevent the inevitable mistake, a daily rehearsal schedule should be sent out to the company (this should also be posted on the callboard). This notice should detail the day/date, location of rehearsal (include a street address if it is a new location), call times, and a general description of the rehearsal plan. This also makes a great platform to communicate last-minute schedule changes, make announcements, and generally keep everyone up to speed. Include the director, assistant stage managers, and any production team members who may be stopping by the rehearsal on these reminders as well. (You can include this information on the bottom of your rehearsal report for the production staff.)

Remember too that, at every rehearsal, it will be the stage manager’s responsibility to keep track of the actors and make sure that everyone shows up when they are called. Starting about five minutes before each call time, check the sign-in sheet to insure everyone called is present (this includes your assistant stage manager(s) and the director!) and call anyone who is missing. Take tardiness seriously, as it can severely cut into rehearsal time and also wastes the time of all those who actually arrived when called.

Prepping the Rehearsal Space

In order to properly prepare the rehearsal space, you should have a solid understanding of what will be happening in each rehearsal. Discuss with the director what their plan is for each rehearsal day (e.g., table reads, table work, first day on feet, first day blocking, etc.). Use this information to determine how to set up the rehearsal room each time. This is also a good time to start asking the director when they would like to start having rehearsal furniture/props, rehearsal costumes, etc. For more on types of rehearsals, see Rehearsals (p. 59).

Tape Out

Once the groundplan is finalized and before staging rehearsals begin, the set needs to be taped out. This simply means laying down tape on the rehearsal room floor outlining what the set will look like when it is built. This is to be done at full scale and with the exact dimensions noted on the groundplan. When working in a space that is not the one you will use for the show’s run (i.e., a rehearsal space), it may also be helpful to tape out the dimensions of the performance stage. This helps the entire creative team envision the space they’ll eventually be working in. In addition to the basic set, also mark out all non-sittable furniture and all large sittable furniture (e.g., desks, tables, couches, etc.).

When doing a musical or show with heavy dance/choreography, it is advisable to also tape out dance numbers or quarters. Check with the choreographer to see if they have a preference. These divide the stage into easily visible equal sections and help the actors and choreographer with spacing.

To make dance numbers, make a mark at the centerline on the far downstage edge of the stage (see Figure 6.1a). This will serve as the “0” point. From there, make tick marks every two feet and tape out or write numbers at each of these marks (the marks two feet out from center should both be numbered “2,” the next out will be “4,” etc.). Make sure these numbers are large enough and facing in the correct direction for the actors to read from the stage. The choreographer may also want tick marks every foot, so ask for their preference. Depending on the complexity of the show, these numbers may also be required for performances. In that case, repeat this process on the stage after the floor treatment has been completed. These can also be painted on, depending on the floor treatment and the preference of the director.

Quarters are less visually obvious and are most common in dance (see Figure 6.1b). They divide the stage into quarters and eighths. After splitting the stage in half by marking center, continue to divide the stage into quarter and eighth segments. To do so mark a quarter halfway between center and the proscenium, then mark an onstage eighth between center and the quarter and then an offstage quarter between the quarter mark and the proscenium. Typically center and quarters are marked in one color of spike tape and are slightly larger marks, while the eighths are marked in a contrasting color and are slightly smaller.

Figure 6.1 a. An Example of Dance Numbers On a Stage, b. An Example of Quarters

Figure 6.2 An Example of a Completed Tape Out

Tape out should be done prior to the first blocking/staging rehearsals (see Figure 6.2). Plan for it to take at least an hour. If it is a large or complex set, anticipate it taking longer.

Tools Required (See Figure 6.4)

1. Broom and dustpan
2. Spike tape (multiple colors)
3. Measuring tapes (ideally four)—two reel and two rigid (twenty-five feet or longer). It is possible to do tape out with two tape measures, but four is much easier
4. Architect’s Scale ruler (used to take measurements off a scaled groundplan; if you don’t own one or know how to use one, this is an important investment both in time and equipment—they can be purchased online or at many office supply stores)
5. Scale groundplan—quarter or half inch are the most typically used scales in the United States (see Figure 6.3).
   1. If you received an e-mail with a groundplan, this DOES NOT mean that it is to scale! See the technical director for a printed scale groundplan to work from. If you know how to use Vectorworks or AutoCAD, an updated file will also work. If you do not know how to use a CAD program, it is very beneficial to learn the basics.
   2. For faster taping, take time prior to tape out to plot key points on the groundplan. If you find the (x, y) coordinates of these points, you can easily plot them on the floor based off of the centerline (y) and the plaster line (x) and speed up the whole process (it is easiest to start with the “y” coordinate).
6. A framing square can be useful for your first few tape outs to help make sure your lines are straight.
7. A buddy (it is useful to have at least one other person to help!)
8. Music and snacks (this can be a lengthy process, so having some entertainment and food to make the time go faster can never hurt!)

Figure 6.3 Example of Coordinates

Figure 6.4 Tools Required for Tape Out

Taping Out

1. Thoroughly sweep the space prior to any taping! The tape will not stick well on a dusty floor. Even mopping may not be amiss.
2. Lay out reel measuring tapes marking the plaster line and the centerline.
   1. Tape down at either end and at the intersection point to keep in place. These will need to remain stationary throughout the tape out process.
3. Use the groundplan, your tape measure, and your previously plotted points to mark out key coordinates on the floor.
   1. Go up the centerline [the y axis] to the first coordinate and then measure out stage left or stage right to the other [x] coordinate. Measure from the plaster line (if you are using one) up to make sure the line stays even.
4. At each point place a small piece of spike tape.
5. Connect the dots to mark out the groundplan.
   1. Leave gaps to indicate doorways and include a strip of tape, imitating the door itself, to indicate which side the door is hinged on and which direction it opens.
   2. Switch colors to indicate different levels or playing areas.
      1. If objects (platforms, for example) overlap, = you can use a dashed line for one and a solid line for the other.
      2. As much as possible, make a color-coded plan prior to tape out, taking into account which colors and how much of each are on hand (see Figure 6.5).

Figure 6.5 A Basic Proscenium Tape Out Setup

Rehearsal Props/Furniture/Costumes

It is often the stage manager’s job to pull rehearsal props and rehearsal furniture for the actors to use until the real props and furniture are available. These stand-ins should be about the same size and weight as the real thing so that the actors can become accustomed to working with them. Some theaters will require a sign-out sheet for items taken to rehearsal.

Having a prop that is close to the final prop is ideal; it is fine in many cases to use a stand-in if you don’t have the desired prop on hand. For example, a block of wood of similar size and labeled for easy identification can make a perfect bar of soap or a book (see Figure 6.6). Remember that glass items have a strong tendency to break! For glassware and other fragile props, try to use plastic, acrylic, ceramic, and/ or otherwise sturdier materials until nearer to performance time.

It is important to have rehearsal furniture for blocking/staging rehearsals. This furniture, like the props, should be similar in shape and size to the final furniture (i.e., the rehearsal chair should have arms if the final chair will have arms). As much as possible, use the final furniture as it becomes available (and you have been given approval to use it), but it is very likely you will be using mostly stand-ins. Larger furniture can be represented by acting cubes or multiple chairs. Most theaters have a stock of furniture in storage that can be pulled for use in rehearsal.

Figure 6.6 Example Rehearsal Props. A solo cup and a block of 2x4 each labeled for easy identification

Rehearsal costume pieces may be needed for the show as well: women may need skirts or corsets, men may need suit jackets or hats. The actors will need time to adjust to acting in this garb and it will have a large effect on blocking. Shoes also greatly affect movement and blocking for both sexes and rehearsal shoes may be employed early on to get the actors used to walking and dancing correctly. Talk to the costume designer or wardrobe supervisor (if one exists) and request rehearsal garb from them. This is something that is good to note early in the process. Some theaters will require a sign-out sheet for items taken to rehearsal. Unions have very specific rules when it comes to costume pieces, so make sure to check the regulations out ahead of time.

Prop Storage

All props (rehearsal and final) should be kept in a convenient, safe location; many rehearsal spaces and theaters have dedicated tables or cabinets that props can be stored in. It is very important to keep the props neat and organized. Labeling the table or shelves of a props cabinet either by piece or scene by scene (this can be done with masking tape or white gaff tape) will help actors put things back in the right spot and allow for quick and easy identification when something is missing. Many prop storages have locks on them because props have a habit of growing legs and wandering off. If this is the case, the storage needs to be locked every night, so make sure it is on the post-rehearsal checklist.

Stage Management Kit

A stage management kit is essentially a toolbox (most times literally) of basic supplies that might be necessary in rehearsal or in performance. Depending on the theater, a stage manager may use a personal kit or the theater may have one for use by the stage manager. If it is a personal kit, sometimes theaters will reimburse the stage manager for items taken from the kit. If it is the theater’s kit, find out who is responsible for supplies and replenishment. It never hurts to ask!

Generic Kit Contents

• Pens/pencils/Sharpies/erasers/highlighters
• Refills of lead and erasers for mechanical pencils
• Notebook paper/notepads
• Hole reinforcers (donut stickers)
• Sticky notes
• Sticky arrows, tabs, flags
• Paperclips
• Rubber bands
• Spike tape
• Crescent wrench
• Screwdrivers (Phillips head and flat head)
• Flashlight
• Pocket knife
• Extension cord/power strip
• Hand sanitizer
• Tissues
• Lotion
• Tide spot cleaner
• Wet wipes
• Feminine products
• Bobbie pins
• Hair ties
• Cold pills
• Pain relievers (Ibuprofen and Tylenol)
• Band-Aids
• Ice packs
• Ace bandage
• Neosporin
• Disposable toothbrush/toothpaste
• Deodorant
• Dental floss
• Clear nail polish
• Hole punch
• Small stapler
• Scissors
• Tums/Pepto Bismol tablets
• CPR mask
• Non-drowsy allergy pills
• Glucose tablets
• Safety pins
• Mints/mouth spray (for actors)
• Cough drops
• Disposable razors
• Deck of cards
• Batteries
• Stress ball
• If your show involves children (or actors), coloring books and crayons/colored pencils (markers are not recommended)

Light and Sound Systems

It is important for a stage manager to have a basic working knowledge of sound and light systems so they may be operated in their most basic form as needed for rehearsal and tech (see Figures 6.7 and 6.8). This also allows for better troubleshooting in the event that problems arise during a performance. Before tech rehearsals, meet with the technical director, lighting designer, and/or sound designer for a basic tutorial.

• Be able to operate and adjust a basic microphone
• Be able to operate the playback system—in many cases that is a computer playback system, but some theaters still use CDs or other methods
• Be able to turn on the lightboard and bring up lights
• Be able to replace a lamp

Figure 6.7 Basic Sound System Layout

Figure 6.8 Basic Light System Layout