Introduction

By Jonathan Allender-Zivic

As a theatrical educator in both small and large academic settings I have to say that, to me, one of the most neglected fields of instruction is stage management. Everyone assumes students know what is needed and expected of them. We rely on them to execute and complete tasks that most students don’t have the faintest idea how to do correctly, let alone without any guidance or mentorship. Good stage management is pivotal to a successful production process. This text has been created to help fill in the gaps for programs where a specific stage management track or emphasis does not exist or for those who wish to get a good grasp of the basics.

The purpose of this book is to help beginning young and less experienced stage managers grasp the enormous number of tasks that will be expected of them as the stage manager of a production. So often experienced theatrical practitioners forget that terms and processes that are second nature to them are not as clear and clean cut to students that are often thrown into these positions. When laying out this book, we tried to go back to the basic building blocks, and explain everything as if this is your first time ever working in a theater. This step-by-step approach will build a strong foundation for you to work from with a solid basis in terminology and processes. This book is not meant to focus on only the professional or academic world, but also to give a generic overview of the field, and should serve as guidelines and a starting place for inexperienced stage managers.

It is important to note at this time that there are already many different textbooks in existence for the field of stage management. No single book will agree on every method. There are many different types of theaters out there with many different artistic structures, all of which function slightly or not so slightly differently. That being said, this book is another view compiled from three different professionals who have worked in different theaters, positions, and environments, each with different training and experiences. We have strived to pool our knowledge of a wide variety of theaters and create a starting point for you to get your feet and maybe your knees wet, but not drown. The methods in this book are not the only correct methods, and everything in the theatrical environment needs to be flexible to a point. However, standardization is also important, so use your best judgment as you begin to grow as a stage manager to decide when to bend and change the “rules.” The words “typically” and “usually” are used a lot in this text because we are talking about best practices and past experiences. Always remain open to trying and learning new things during what is hopefully an extremely collaborative process.

One thing that I do not think can be stressed enough is communication. Always communicate—it is better to over-communicate than under-communicate—always ask questions, share information, and make it easily accessible. There will be people who are upset by being included in an e-mail they don’t really need to be on, but it’s better that they have the information and not need it than not have the information and need it. Stage management is not only a job, but also a state of mind. It requires dedication, passion, patience, a little neuroticism, and a whole lot of love for what you do.