10
Rehearsals

The writers give birth to the show. The producer becomes the caretaker. As godparents and day-care workers, the artists—the designers, director, and performers—take the show into their care, nurturing and developing it into a mature and highly interesting piece of entertainment. The time set aside to do this is rehearsals. During this period the artists give the show character, color, design, style, personality, and an identity of its own.

The First Day of Rehearsals

This day is often a unique mixture of feelings and experiences for all involved. For the producer, it is the beginning to making a dream and vision come true. It is the culmination of endless planning, licensing, gathering artists, negotiations, emails, text messages, and phone conversations. Now the producer stands to the side watching carefully, hoping the artists will take the show beyond all those dreams and expectations.

To varying degrees, for the director, musical director, and choreographer, no matter how skilled, successful, and experienced they might be, the first day of rehearsals is the time when they must once again step up to their creative and artistic ability and prove themselves. For the performers, too, rehearsals are a time to step up to their creative and artistic abilities, but in the first few hours on this first day, all of that is put aside. There is excitement in the air and a party atmosphere prevails. This day is a birth, a marriage, and a celebration rolled into one. There is great expectation and anticipation, followed by some anxiety for the things to come. There is hope for success, the thrill of having the job, relief to be working again, and a childlike revelry in being the center of attention, for this rehearsal period is intensely focused on them and their work.

The SM is also filled with many of the same feelings. This is a time when SMs, too, must once again step up to their abilities and prove themselves. The work the SM has done during the pre-production time will seem like child’s play compared to what is to come. Rehearsals are a time when the SM must remain focused, concentrated, devoted to the job and to the show, and work at an accelerated pace to get things done. There will be little to no time for personal life, and the SM must work as many hours as are necessary to do the job. There will be no let up from this pace and intensity, at least until the show opens, and even then the release is minimal.

On the first day of rehearsals the SM also joins in the celebration, but is only a part-time participant, for work began for the SM with the arrival of the first person. While everyone is meeting and greeting, making new acquaintances and renewing old ones, the SM stays focused on the business at hand. The work in the first few hours on this first day launches the ship, steers it out of port, and directs into the open seas where the director takes over. If the SM has worked well previous to this first day and continues doing so throughout the rehearsals, the launching, departure, and sailing should be calm, smooth, easy, and unnoticed.

The First-Day Rehearsal Hall Setup

It is strongly advisable that the SM get to the rehearsal hall at least an hour before everyone else. Most of the work in setting up the rehearsal hall was done during preproduction, but on this morning the SM sets up the room(s) for the work to be done on this day. Think of it as if you are setting up for guests, making things look as good as possible with what is available in the rehearsal room.

Setting Up for Equity

For the first hour, the Equity representative will come to complete the union business. To do this the SM sets up in the middle of the room two banquet-type tables in a square configuration, giving the feeling of a round table where everyone can see everyone else. If the show is a musical a third table might be needed, or the SM might set up a semicircle of chairs with music stands, all gathered around the musical director, the pianist, and the director’s table.

It will be at this table or grouping of chairs and music stands that the Equity representative will complete the union business, and then later on the cast will have their read-through/sing-through of the show, which these days is commonly referred to as the table read, a term from TV sitcoms, where each week the cast reads through the script for the first time. At each place the SM sets the packets of information prepared during pre-production time with each performer’s name on one. Included with the packets are whatever Equity forms need to be filled out. In placing the performers at each place, the SM is conscious of their groupings or who is sitting next to whom, putting the stars and principal performers in one grouping with the supporting roles on each side of them and then the ensemble to fill in the rest. The SM might also put a pencil at each place, or hold in reserve a box of pencils and distribute them as needed.

Setting Up the Social Amenities

Whether elaborate or simple, whether paid for by the producer or personally supplied by the SM, it is effective and a gracious start to the working relationships to have some coffee brewing, a tea set up, and possibly some goodies—preferably healthy items. Bottled water is a nice feature—some at room temperature and some kept cold in a picnic cooler. If this goodies table is perhaps set with a table cloth and maybe some flowers, all who come will consciously or subconsciously be impressed and feel welcomed and at home. Having background music playing over the laptop as people enter is an excellent added feature, as long as it is not intrusive. Of course, the ASM is right there aiding and assisting.

Additional Setup

Having set up for the Equity hour, the SM checks to see that the director’s worktable has a comfortable chair and, if the director will be using a laptop or other electronic devices, the SM sets up accordingly. If the show is a musical, the SM sets a worktable for the music director who will share with the rehearsal pianist. More times than not, the choreographer shares workspace with the director but for the most part will be off in another room. If the music director also works from a laptop, he too will need a direct power source set up. If the show is new, be it a musical or straight play, chances are at one time or another all the other creative artists will be in attendance and will need a workspace too, usually sharing with each other.

The SM’s Workspace and Table

Before going into the details, the SM’s worktable is always set up on the side of the rehearsal room closest to the entrance to the room. From this vantage point the SM can come and go without having to cross in front of the director and performers as they work. Also, it gives the SM the advantage of greeting anyone who enters the room legally or illegally. This is an important factor of consideration.

While the workspaces for the director and other members of the creative staff have a general setup, the SM’s workspace becomes a detailed, functioning office. It is a space made only for the PSM and the ASM. The area needs to be set up with everything in its place and a place for everything. Supplies and equipment for immediate use must be set up on the worktable and not in the SM’s office bag or in the storage box. Once the rehearsal gets into full swing, the SM does not have time to go searching for items. To be included are:

  • The laptop, set and ready to be plugged into a direct power source when needed
  • Files open and minimized waiting to be opened with the touch of the mouse pad
  • WiFi (if available)
  • Smart phone on the SM’s person
  • “Rehearsal” script out, ready for the table read
  • Tablet, if used, out and ready to be picked up
  • Ziploc bags holding the different office supplies
  • Storage box, opened, set up on a chair, and so organized that the SM could go in there blindfolded

A Word of Advice: For the most part, performers who have worked shows before know the SM’s area is sacred space. They know not to enter it unnecessarily, come to sit there or rest their belongings there, and for sure never place a drink of any kind on the table, for as sure as there is Murphy’s Law, that drink will end up soaking the script or drenching the keyboard, and even if you are willing to play the odds, don’t, because if it happens it is disastrous. If at any time some beginning performer should enter this zone, in your finest, most gracious and loving way, let it be known that a major crime has been committed.

All is prepared and the rehearsals room is looking good, neat, and orderly. Be aware, SM, this will not last long, because as soon as the company members start arriving all will change as they make the place their home. Only the SM’s area will be as it was set, and that is how it should be.

As a final task, the SM places some signs about:

  • Signs to lead people to the rehearsal room
  • Perhaps one over the designated prop table
  • Maybe a sign asking the cast to keep the coffee area clean
  • Maybe a sign on the door as people enter the rehearsal room. Sometimes you might want to put the name of the show with a reminder that a rehearsal is in progress and to enter quietly. Sometimes the producer or director will not want to advertise the name of the show and may also ask that the sign read “Closed Rehearsals.”

Arrival of the Cast

For the SM, the arrival of the cast on this first day opens the floodgates of work—action filled with multitasking, intensity, solving problems, and beginning that caretaking talked about in Chapter 2, “The Anatomy of a Good SM.” From this point on, every minute will be filled applying all that the SM knows.

With some shows, there will be smooth sailing, but never can the SM operate on automatic pilot and be there just for the ride. With other shows, the rehearsals and even the run of the show can be like a war zone. The SM’s ability and character will be tried and tested at every turn of events. Most SMs will rise to the occasion, some will falter and maybe even fail. Enough times of doing this and you can be sure they will not be hired again.

Upon their arrival on this first day, the SM meets and greets the cast members. For the moment, the SM acts as a host, welcoming them as if to a party. Some of them will have been met briefly at the auditions. Others the SM may have talked to on the phone or only communicated with through email or text messaging. Almost always there will be one or more performers with whom the SM has worked in other shows.

Even as the SM plays host and socializes, focus must remain on the business of the moment, which is to introduce the performers as they arrive, lead them to their places at the circle/round table set up, orient them to the schedule for the day, and start them on the paperwork that needs to be filled out for Equity and the production company. Meanwhile, the ASM is also playing host and doing the same as the PSM. At this point in time, the producer, director, and star are often noticeably absent from the Equity hour. The producer and director usually arrive before the hour ends, and if the star is prone to making an entrance, he or she will arrive fashionably late.

The Equity Business Hour

The Equity business is simple. If the SM has done the work well, if the production office has signed most of the contracts in advance and now has prepared the ones that need to be signed on this day, and if the representative is organized, the Equity business will go smoothly and quickly and can be completed within the hour set aside. On this day, the Equity hour is an additional hour to the actors’ normal workday. If the production office is delinquent in having the contracts prepared and the signing is delayed, at the end of the Equity hour the SM starts the rehearsal clock, which puts everyone on the producer’s time. If the Equity business takes longer than an hour through no fault of the producer or production company, the Equity hour will be extended until the work is completed. The SM informs the cast that the rehearsal time will start when the Equity business is finished and apprises the producer, director, and the rest of the rehearsal staff of the change in schedule.

The Equity Business to Be Done

Following is a list of all the Equity business that must be accomplished.

  1. Sign contracts. No Equity member is allowed to start rehearsals until there is a signed contract.
  2. Bring all Equity members up to date in their membership. Finalize the induction of new members, fill out the paperwork/forms for candidates within the EMC program (Equity Membership Candidate), and finally make arrangement for payment of dues and fees.
  3. Fill out all Equity forms for medical insurance benefits, for pension and welfare, and for updating Equity records.
  4. Elect Equity deputies for:
    • Principal and supporting performers
    • Ensemble/chorus performers

Attendance at the Equity Hour

The entire cast is required to be present for the Equity hour. This includes non-Equity performers, if any. In situations where some of the cast members cannot be present, the rep needs to be informed before this day and will take care of business with those individuals at an earlier or later time. The star performer may or may not be present for this meeting. The star’s Equity business may be handled separately and at a time convenient to the star.

The SM’s Welcoming and Down-to-Business Speech

At the end of the Equity hour, the SM briefly welcomes everyone and lays out some basic ground rules and expectations, most of which have been heard before but somehow need to be said again.

Be Brief: This speech needs to be, filled with business, and to the point. This is not “show time” for the SM. Actually, it is never show time for the SM. That is reserved for the performers, the director, and the producer. If anything, the director is anxious to get to the next part of the day, which is usually the table read.

Points Within The SM’s Welcoming Speech

  • The SM welcomes everyone, expresses joy and excitement for the project, and might add, “I’ve seen the auditions so I know we have a great and talented cast.”
  • The SM reminds everyone, “The SMing staff is here to keep order and run things smoothly. You all know the Equity rules and professional standards expected of you, and if we work within those parameters, we can put all our efforts into the hard parts and the unexpected things that come up.”
  • The SM points out the packet of information that has been prepared and asks that everyone look over what is inside and maybe put the block calendar into the front part of their scripts, or if they choose, a copy can be sent electronically.
  • The SM reminds the company of their responsibility to check the callboard on arrival each day and before leaving at the end of the day.
  • And while on the subject of the callboard, the SM reminds the cast and everyone within earshot that the callboard is for official Equity and company business. “Whenever possible I will designate a part of the board off to the side for the cast to post social notices. I will not be posting reviews, even the good ones, unless instructed to do so by the director or producer.”

Now this is where the SM lays down the law, but in a business-like way. This change in tone is to leave an impression and to show that the SM is serious about the next few points to be made:

  • “Let’s talk about the daily sign-in sheet. You all know you are required to put your initials in the box corresponding to the beginning of the day and the box when you get back from midday break. Now here is the part for which I have very low tolerance: being late. Always there are good, understandable, and acceptable excuses. But as a check for me, just to see if your being late was a rare occurrence or a way of life, I will outline that box in red. By the way, this also includes forgetting to sign in even though you were there on time. This is especially important when we get into the theatre, where I will not have the time to go looking for you. Then after the third red box it will be reported to the producer and to Actors’ Equity and I will have them deal with it in their way. I outline that box in red and I keep all sign-in sheets on file so that somewhere down the line when you are confronted with being late for a third and final time, and you doubt my accounting, I will have documentation.
  • “Now last on my list is something that has crept in on us and can be a disturbance and annoyance while we are working: cell phones! You are asked at the theatre before the play begins and at the movies to turn off all electronic devices. I ask the same of you while in the rehearsal room. Even having them on vibrate can be an intrusion and annoyance. As you know, we are required to have a five-minute break within every hour, so surely whatever calls might come in can wait until break time.”

The SM’s “Rented Script” Speech

Finally, this is where the SM goes into the “Rented Script” Speech, explaining that the scripts have been rented from the publisher and after the run of the show must be returned. The SM explains that the rented scripts are numbered and kept on a list along with the name of the performer to which the script has been given. The SM states further that the scripts must be kept and returned in good condition, asking that blocking notes be written lightly in pencil for they will need to be erased at the end of the run of the show. Continuing on, the SM lists the part about dog-earing, keeping it bound together, it being lost, coffee stains, or any other kind of mutilation that can happen to a script in the course of a rehearsal. Then, as a final note, the SM says that a stiff fine will have to be paid for any script not returned or not acceptable to the publisher. If the SM so chooses (as I have done on many occasions), he or she can leave out that it will be the producer who must pay the fine, leaving it to assumption that it will be the performer who pays.

Costume Measurements

In many working situations, the costume people are anxious to get the measurements of the actors so they can begin construction or alterations. Sometimes the actors are instructed to go to the costume shop on their own time, which is acceptable within the Equity agreement. However, the time performers can do this on their own is limited before the performer must either be sent during rehearsal time or get paid for going.

Directors dislike losing actors from rehearsals, and producers dislike having to pay to have this task done. Knowing this, in the first part of the rehearsals the SM tries to save the number of times performers must go on their own by sending them during their rehearsal time when they are not needed. Later on, toward the end of the rehearsal period when the director needs practically everyone at the rehearsals at all times, if necessary the SM has the actors go on their own.

Getting costume measurements from the actors is fairly simple work. To accommodate the costume people and at the same time not use up allotted time, the SM asks the costume people if they can come to the rehearsal hall on the first day of rehearsals to get the actors’ measurements. More times than not, the costume people are quite agreeable to this request. The SM arranges for the costume people to set up either in another room or in some private corner of the rehearsal room, instructing the actors to have their measurements taken when they are momentarily free.

With arrangements made for measurements on the first day, the SM’s first-contact email, you may recall, instructs performers to wear clothing that allows for measuring.

The Correct-Spelling-of-Names List

There is still this one piece of business that may feel unimportant amid all that must be done, but as explained in Chapter 6, “Hard Copy,” this issue with actors wanting their names spelled correctly in the program was great enough that Equity had to negotiate a clause with producers to make the correction in print or pay a penalty.

So in protection and in the service of the producer, the SM has created the correct-spelling-of-names list (see Fig. 6-19), upon which each performer is noted in alphabetical order. If the name is spelled correctly, the performer passes over the center column in which the corrections would be made and simply initials the last column, signifying that the spelling in the first column is correct. If indeed there is a mistake, the performer prints in the middle column the correct spelling, and then initials the last column.

After all have checked their names and have initialed their approval, the SM can scan the document into the files in the laptop and email a copy to the department putting together the program, which is usually the publicity department.

Enter the Producer, Director, and Star

These people may make their entrances into the rehearsal room on this first day individually or as a group, spectacularly with great fanfare and panache, or quietly and with understatement. Regardless of the nature of their entrance, the business of the moment becomes suspended while the time turns into a social event. There is no preventing it. The SM joins in but monitors the time. When sufficient time has been given, the SM suggests to the director that they begin work. The director will either take the lead, perhaps addressing the cast, or give approval to the SM to direct everyone to the next order of business, which usually is a reading of the play. The SM goes into quick action and sets up the room according to the director’s instructions.

The Reading of the Play or Table Read

The reading of the play with the performers who will be playing the parts can happen around that table the SM set up in the middle of the rehearsal room for the Equity hour, or it can happen with chairs placed around in a circle. Today, it happens mostly around the table, another one of those things that has been carried over into theatre from television. This is when the script is given a voice and speaks through this particular group of performers. Each person experiences this reading from a different perspective. For the SM, up to this time the play has been mostly about charts, plots, plans, and lists.

Written into every script are of course the author’s descriptions to set the scenes, the mood, action, feelings of the characters, or special cues and effects. During the table read the SM usually reads aloud these bits of information. On occasion the director may choose to do this. From the start, it is important that the SM establish with the cast a presence—a voice they will hear during their creative time, as well as during times when they must do business—but before assuming the job of reading the descriptive text, the SM first asks the director’s preference.

Breaks for the Cast

At the end of reading the first act, the SM gives the cast a break. After the break, the reading resumes with Act II.

Equity has some very specific rules governing breaks. Within every hour of work, the performers must be given a five-minute break. This means the SM must be ever watchful of the time and, at the fifty-five-minute mark of rehearsing, stop the rehearsal to give the performers a break. For working situations where it is more beneficial to continue working longer, Equity allows for every hour and thirty minutes worth of work (ninety minutes), the actors are to be given a ten-minute break. No other variations or manipulations of these time periods are permissible.

The SM comes under all Equity rules and is also entitled to a break at these times. However, the SM needs to be watchful of break times, and also uses the few minutes of a break to regroup thoughts and priorities, check the list of notes, maybe respond to a text message or make a call, or set up the room for the next hour of rehearsals. It is amazing what can be done in these short five minutes. In theory, the SM takes breaks at a different time. In reality, the SM seldom takes breaks.

The Director and Breaks

For the director, breaks are often an intrusion. They stop the work and creative process, which usually is flowing at a peak rate of intensity. As soon as the break is called, that peak diminishes, and on return from the break, it takes time and effort to get it back—sometimes it is lost completely. Directors would rather give breaks when they choose. If they must be restricted to giving breaks at a prescribed time according to Equity rule, they prefer giving them every ninety minutes. However, in this matter it is the SM’s job to consider the performers first. This is an option the performer can vote to have, but having breaks after fifty-five minutes of working is often more beneficial in preserving and pacing the performers’ energy for the day’s rehearsal. Most directors know of the ninety-minute option, but the SM does not offer it. The SM lets the director ask for it and then it is left up to the performers. However, to ease the director’s discomfort on this matter, at about five minutes before the break is to be given, the SM informs the director, “We have a break coming up in about five minutes.” Then, at the time the break is to be given, the SM says to the director, “We need to take the break,” or, “It’s time to take the break.” If the director is so inclined, the SM lets the director call the break to the performers.

The Stopwatch

This is a highly important tool for the SM. There are many instances when accurate timings must be made within scenes, for sound-effect cues, or just as a general timing for a scene, an act, or the entire show. Just as important, the stopwatch needs to be used for timing breaks. For the cast members, breaks are never long enough and often they question the SM, believing their time is being cut short. To directors, the breaks seem to be longer than five minutes and they too question the SM. To eliminate any doubts, the SM calls a break and makes a point of starting the watch for all to see. This psychological gesture reminds everyone that five minutes is a short period of time, and they must use their time wisely and economically. If they are not back by the end of the five minutes, they are late.

An SM’s Secret Gift: On many occasions, especially on a hard day of rehearsals, I will start my stopwatch at the beginning of the break but then let it run two, maybe three minutes longer than the allotted five minutes. Sometimes the director who might be anxious to get started may question the time. I take a look at my stopwatch, study it carefully knowing I am well over the time, and say with assurance. “They’ve got about forty-five seconds more.” Then when the time has passed, I call for places to resume rehearsals. Ashamedly, I have done this often but have never been caught at it or revealed my secret. It was my gift that needed no recognition by anyone, I guess until now.

Most times today’s SMs uses the stopwatch feature in their smart phones, while there are others who prefer the sports-type stopwatch attached to a ribbon or strap and carried around the neck. This leaves the SM free to move about the rehearsal space and still monitor the time. Stopwatches are an attractive item, and if left lying around can be misplaced or can permanently disappear (if you know what I mean).

The Midday Meal Break

Equity rule provides that by the fifth hour of the performers’ workday, the performers must receive an hour-and-thirty-minute break for the midday meal. However, if the director is agreeable, the Equity members can vote to have the midday meal break cut to one hour, with the remaining thirty minutes being given to them at the end of the day, allowing them to be released from rehearsals thirty minutes earlier. This vote must be unanimous. To ensure that all people vote their true choice without feeling peer pressure or being swayed by majority rule, the SM sees to it the vote is done by secret ballot.

During rehearsals, especially in the first week or two, the midday break becomes a welcomed time for the SM, a space to regroup, reorganize, prioritize, check notes, maybe make a couple of calls, send out a text message, and at the same time grab a quick lunch. At this stage in rehearsals, there is no time for the SM to go out for lunch and maybe bond with some of the cast members. However, SMs should not forego some kind of a break, even if it is simply to go into another room where they cannot be found or behind some prop or scenery flat where they cannot be seen, turn off the cell phone, and just have some quiet time. SMs definitely need this short period of time to relax and restore their energy, mentally and physically.

After Midday Break

On the first day when returning from the midday break, the detailed work needed in bringing the show to life begins. If the play is a musical, often the ensemble performers will go off into another room with the music director to work on music, the choreographer may work with a principal on dance, and the director will remain in the main rehearsal room working with some of the principal performers to begin blocking a dialogue scene. If the show is a drama or comedy, the SM sets the rehearsal room for one of the scenes in the play, usually the first scene, and work begins on blocking the show. For the rest of the rehearsal days, after the midday break, rehearsal continues according to the daily schedule.

More on the Director and SM’s Working Relationship

This might be a good time to continue conversation on the relationship between the director and the SM from what has already been said in Chapter 7, “Profiles and Working Relationships.”

The working relationship between the director and the SM is a marriage, and by the end of the first day the wedding has taken place and the honeymoon has begun. There is much the SM must do to learn about the director to make this union a workable and successful one. This will not be a fifty–fifty proposition. The SM does not look to see what the director is doing to make this relationship a success, but rather forges ahead, doing the SM’s part.

The SM must be a quick study of the director, observing everything, picking up clues on the director’s temperament, personality, energy, pace, demeanor, likes, and dislikes—the director’s acceptance level, patience threshold, tolerance factor, causes of anger, or triggers of ego. If the director acts, behaves, or works in ways that are different or out of the ordinary, or if the director seems to have some hidden agendas or issues, the SM tries to understand them and works with them.

If the SM is uncertain about anything in this working relationship with the director, the SM initiates open conversation. The SM must be direct, making no assumptions and not letting things slide for another time. However, the SM must be careful not to come off as combative or on the attack. Diplomacy and tact are the best approach. Even better, in the course of conversation, the SM states his thoughts and feelings using “I”: I feel this… I experience that… I am uncomfortable with… Always the words of expression; the sentences are built around “I,” never “you,” telling the director the things he is doing to make you feel this way.

As the SM and director work together in these first days, they establish between them the working rules. In all situations, the SM lets the director set the rules. The SM is free to express opinions and see if the director is agreeable. Within professional reason, the director is to be served in the way the director chooses, not in the way the SM wants. A good and compatible working situation between the director and SM in rehearsals is when the SM is in charge while the director leads and remains in control.

A Nightmare SM–Director Relationship

An incompatible director–SM relationship can be one of those nightmare stories theatre people tell as they sit around to socialize and unwind after a show. The nightmare part is that the SM and director are stuck with each other. If the relationship between a director and SM needs to be broken up, almost always it is the SM who is removed from the equation. However, the rehearsal period is not an easy time to remove the PSM from the show. Rehearsals can last from ten days to four weeks. By the time it becomes evident that the PSM–director relationship is not working and is having an adverse effect on the show, the rehearsal period is at least half over. If the ASM is capable of taking over and the producer is confident, a change may be made, but most producers are not willing to do so during such a crucial time in the development of the show. Instead, the producer talks with each party, trying to keep the status quo, knowing that the show will soon be opened and the PSM and director will naturally be separated. Thus, the director and SM usually are stuck with each other, just waiting for the time when they will not have to work together daily and the nightmare will be over.

What Directors Expect from Their SMs

In Chapter 7, “Profiles and Working Relationships,” the apparent double standard of work and expectations that directors practice when working with the cast and when working with the SM was noted. With the performers, the director appears benevolent, understanding, and patient. The director appears to allow greater time for learning and experimenting, seems to be more accepting of the performers’ shortcomings, will apply greater effort in helping the performer to do their job, and is tolerant of a difference in opinion or a display of their ego. In effect this is what a director is supposed to do, is what makes a good director and gets the best job out of the performers.

On the other hand, the director’s expectations and way of working with the SM is usually quite different. The director expects the SM to do the job quickly, calmly, quietly, smoothly, proficiently, efficiently, effectively, and perfectly. And guess what? This is the SM’s description job. However, the director has little tolerance for personality or individuality in the SM and wants no ego displayed. The director expects the SM to be a step ahead, anticipating all needs and wants. When the director asks a question or wants a bit of information, the SM is expected to have the response ready to be delivered within seconds. The SM can do this and accommodate the director if the SM has the work area set up as described above. The director who finds such an SM finds a personal treasure. As much as possible the director holds on to this SM, hiring him or her again and again.

Some directors are not above abusing their SMs, taking out their angers, annoyances, or frustrations on them. There is a fine line every SM travels in accepting this kind of behavior. It is up to the individual SM to know what is acceptable and what is not, and to communicate this to a director who works in this way. If this doesn’t work, then the SM needs to talk with the producer, but remember what was said earlier: from the producer’s prospective it is much easier for the SM to be taken out of the equation than the director. If the situation is too intolerable, the SM needs to take steps to get out of the job. Conditions will never change and often get worse. I know this from experience.

The Director’s Rehearsal Time

Directors hate having their creative time in rehearsals with the cast disturbed. We have touched on the director’s feelings and reactions for having to stop to give breaks. When it comes to being disturbed with matters or business other than the immediate work with the cast, some directors can be even less tolerant or become even more annoyed.

It seems to be a general quality of directors that no matter how much time they have to rehearse, they complain it’s not enough. Some directors become guarded and protective, resisting those times when other business must be done during rehearsal hours, such as when performers have to go to costume fittings or publicity events, or take time out of the rehearsal day to do personal business.

Every SM must know this of directors. It then becomes the SM’s job not to save the director from these feelings or to change the director’s way of behaving, but rather to be creative and manipulative in scheduling so such infringements or disturbances to the director are kept to a minimum.

Breaking into the Director’s Creative Process

Throughout the rehearsal day, it is the SM’s job to handle all business and answer all questions that come into the rehearsal room. That is why it is so important for the SM to know as much about the production as possible. It is the SM’s job to keep information flowing and keep the wheels of progress and industry turning. From the information the SM gives out on any given day, other departments are often able to continue their work without having to disturb the director. With the use of emailing, text messaging, or even a quick call on the cell phone, this is easily done. This is why it is so important for the SM to know as much as possible about the entire production. This is also what makes an SM invaluable to a director.

There will be times, however, when the SM is absolutely unable to answer a question or give information that only the director can deliver and the information needed or question to be answered needs to be delivered right now! If the SM cannot persuade the person demanding the information or asking the question to wait until later, the SM has no choice but to disturb the director in the middle of rehearsal. In working with any director, the SM learns the right window of time to step in, saying, “Forgive me for breaking in, but this matter cannot wait and you are the only one who can provide the information.” The SM needs to be concise and brief in asking for what is needed. Get all the information surrounding the subject and make sure it is understood, because once the director returns to his work with the cast, it will be even more of a disturbance to the director to be interrupted on the same matter.

The SM’s Notepad

During rehearsals, and in fact during any point in a production, people throughout the company and throughout the day will be making requests or passing on information to the SM and the SM will need to follow through on seeing that these things are handled and the information is deciphered and distributed. Only foolish and unwise SMs think their memory is so great that they do not need to make notes. The number of things an SM will jot down in a day or even in an hour is sometimes too numerous to try to commit to memory. Unless an SM has an absolutely photographic memory, no SM should use energy for such work. There are too many little things that can slip through the cracks and be forgotten. Making a note to purchase herbal tea for the cast is just as important as jotting down the flight number and arrival time of the star and passing that information on to the limousine service.

At one time SMs simply used a tablet of paper or a clipboard on which to jot down every single thing to do or remember. Today, this note taking can be done electronically in several ways, depending on what is most comfortable and convenient. Some SMs still prefer the old paper tablet or clipboard, while others choose to finger-peck the text into their electronic tablet. Some have found a pocketsize digital recorder useful or speaking into their smart phone or tablet, taking advantage of the voice-to-text feature. However, this verbal way can be a disturbance when it has to be done in rehearsals.

Making the Daily Schedule

A major task each day is for the SM to get from the director a schedule for the next day. Some directors can create a daily schedule for the entire week at the beginning of each week and follow it to the letter. In most instances directors prefer creating the daily schedule after they have finished the work for the day.

There was a time when the SM made a great effort to get the director to create the next day’s schedule during the midday meal break. By Equity rule, the SM is required to have the next day’s schedule posted on the callboard before the cast leaves at the end of their day. If the information is not available before the cast leaves, the SM is required to call and give that information within a reasonable time. Before group emailing, this was a time-consuming task that had to be one of the first things the SMs did after everyone went home. For a play with five or six characters, no problem—but with musical shows having thirty or more cast and staff members, this chore could easily be taken home and extended into the evening hours.

Once again technology has come to the SM’s rescue. Today it seems to be standard operating procedure (SOP) for the SM and director to put together the next day’s schedule after all have left for the day. Then, with a rehearsal schedule template on the laptop on to which the information can be entered, the schedule is easily sent off via group email.

Putting Together and Distributing the Daily Schedule

The general belief that the SM makes up the daily schedule is true in every part except for the actual creation of the schedule—the events that appear on the schedule. The SM facilitates the making of the schedule by getting the director, choreographer, and music director to meet and decide on what they want.

At this meeting the SM takes copious notes. While using a tablet, smart phone, or digital recorder to make notes is very “today,” it seems that the old paper-and-pencil way is more efficient. As quickly as a note is given and written down, it can be changed in the order of the schedule, or in the timing, or even in what will be rehearsed. Making notes electronically is all well and good while in the meeting, but later when the SM has gone off to enter the information into the laptop, it will be easier to see past the penciled notes on the paper rather than having to search for the pertinent notes electronically.

While creating the daily schedule, the SM has at hand the block calendar, the schedule reminder list, and the Scene/Character Tracking Chart. As the creative heads plot out their part of the schedule, the SM is checking the schedule reminder list, making sure there is nothing that will effect the schedule for the next day. Also the SM uses the Scn./Chctr.Track.Chrt. to see that there are no parts of the show being missed or neglected. Last of all, the SM uses the block calendar to see if the work being done, and the work to be done, is fitting within the time frame of the overall schedule. The SM also watches to see that there are no conflicting times when one actor is expected in two places at the same time.

Once the schedule is electronically complete and distributed by email, the SM also prints out copies. One copy is posted on the callboard, another placed on the SM’s worktable, and even though the director, choreographer, music director, and rehearsal pianist have all been emailed a copy, hard copies are placed at each of their workplaces for quick and easy reference throughout the day. While it appears that the daily schedule is only for the cast, it is all-inclusive and is for the entire company.

Working in Realistic Time

In all matters having to do with the company, the SM must have a realistic sense of time—the time it truly takes to perform a task or complete an event. Many people in the company will have their own version of how much time it takes to do things, sometimes minimizing or inflating the time to suit their particular needs or purpose. In times when it matters, as in making the daily schedule, if the staff members are working in fantasy time or wishful-thinking time, it is the SM’s job to step in and guide them to realistic time.

Poor Use of Time

SMs must also be watchful of people in the company who use their time poorly—people who become indulgent in their work, forgetting the overall picture and time schedule. This even goes for the creative and technical department outside the rehearsal hall. Of course during the rehearsal period it is much harder to evaluate the progress of the different areas when the SM is witness to their progress only if the SM happens to be at their shops or offices. This is when the SM must confer with someone on the production staff who might have a better working knowledge and is able to make a better judgment call.

Directors too can be negligent with their time. It then becomes the SM’s job to step in, reminding the director of the overall time frame and schedule. Some directors are thankful and work accordingly. With other directors, this may become an annoyance that can put a strain on the relationship, especially when the director is having a problem in rehearsals and is not getting the desired results. So the SM must find the right window of opportunity to remind the director of the fleeting time. After having reminded the director over and over and still the schedule is falling behind, the SM must have a conversation with the producer. This too can add further harm in the SM’s relationship with the director, especially if the producer is not careful in his approach to the director and indicates in some way that it was the SM who brought this matter to his attention.

Considering the Performers in the Schedule

Instead of putting the daily schedule in time frames and having the performers come only at the times when they are needed, some directors choose to have the entire cast come to rehearsals each day. This leaves the director free to work on whatever he or she chooses. Depending on the show, especially in ensemble performing shows where the characters in the play appear in groups, frequently on and off stage or in and out of scenes, the SM has no choice but to schedule a block or group of performers and keep them waiting off to the sides until they are needed. This, however, is not a good working situation. It is tiring and boring to the performers who must sit and wait for their time to work. It also puts the SM in a babysitting situation. No matter how disciplined and professional the performers might be, little coffee clutches and discussion groups develop, which become annoying to the director and the other performers working. After a while some of the performers will wander, and just when the director wants to rehearse with a person, that person will be off to the bathroom or out in the hall on the cell phone. In annoyance, the director may turn to the SM demanding the person’s presence immediately, and may even remind the SM that it is the SM’s job to keep the performers standing by.

When working with such a director, whenever possible, the SM tries to get the director to set time frames for the actors to rehearse. However, as is the case with all things concerning directors, some will graciously comply while others will resist and continue to work as they have always worked. This is where the SM works as the director chooses, servicing the director’s whims and idiosyncrasies.

Dealing with People Being Late

Late Performers

Being prompt and on time starts with the SM, who is always early enough to have the rehearsal room set up and ready for work and starts the rehearsal promptly with the performers, even if the director has not yet arrived. As discussed on the first day of rehearsals, the “little red box” goes into application, whether returning from the midday meal late or being there but forgetting to sign in. The SM must follow through on this matter. Ninety-nine percent of the performers will be on time and ready to work. It is the remaining percent that, if left unchecked, can send the message it is acceptable to arrive late. Being late is like a highly infectious disease. It can spread throughout the company like influenza, infecting the promptest of individuals.

All offenders are sorrowful and offer powerful excuses. Those who are late for the first time will ask for consideration to not have this offense counted against them. With love and care, the SM explains to the individuals that if being late is not a problem with them, this one red mark will not mean much and the matter will be closed. However, if the individual has a tendency to be late, this will be the beginning of keeping a record.

With individuals who establish themselves as late-comers and are about to receive their third red box, the SM must counsel the individual, expressing concern. The SM may try to get the person to see what things contribute to the regular lateness, or maybe the reason the person is choosing to be late. The SM may offer suggestions on how the person might better schedule time. As a final gesture, the SM might offer to overlook this third offense, assuring the performer that with the next incident punitive action will be taken. In addition to this consultation, the SM should record in the logbook an accurate and detailed account of each incident and what was said in meeting with the individual. On the next and final offense, the SM has no recourse but to report the individual to Actors’ Equity and to the producer.

Late Director or Stars

Rank has its privileges, and if the director or star chooses to be late, the SM has no course of action as with the cast members. The SM may express to them in private the SM’s efforts in making the cast members be on time and might appeal to them to set the same standard, but should not let their arriving late stop the rehearsals and keep everyone else waiting. In times when the director is late, the SM needs to hold the schedule at bay and have the performers run a scene, or if the show is a musical, have them work on dance or music. In taking this course of action, the SM must make sure the work is worthwhile and productive, and not just busy work.

The Equity Rulebook

As discussed earlier in Chapter 8, “Running Equity Auditions,” the Equity Rulebook is the bible of agreements, rules, laws, bylaws, and regulations that have been made and agreed on between Equity and producers. This book provides all the details governing the employment and treatment of all Equity members. It is an absolute given that the SM has downloaded into the laptop a copy of this rulebook. Sometimes the book provides answers and information within seconds. Sometimes the rules are simple and straightforward. Others are complex, detailed, involved, cross-referenced, and have exceptions, variations, or special circumstances. Also, the same rules may vary according to the type of contract under which the show is working.

When the book was provided by Equity in hard copy, the SM could easily dog-ear pages on which certain rules were noted. Today, the SM can do something similar by color-backing important text, or putting the text itself in color, or even shifting down a couple of spaces within the text and putting in bold key words that tell which rule is being singled out.

The Day’s End

By the end of the first day of rehearsals, the SM has begun a working relationship with both the cast and director, set the ground rules, and just generally established the professional way the SM will work and the way the SM expects the cast members to work and behave. No matter how thrilled people are to be working in theatre and haw dedicated they are to their profession, by day’s end everyone is looking forward to going home. As the rehearsal draws to a close, in the final hour the SM checks the schedule to see what work remains. If some performers are not going to be used for the rest of the day, the SM does these performers a great service by dismissing them early. The SM, however, does not make this decision alone but rather confers with the director to get approval.

The last hour in the day can also become an hour lost. The creative level has dropped and most thoughts are being directed toward going home. Most assuredly, the SM too is looking toward this time. However, it is the SM’s job to keep everyone focused and use the time remaining. When things are beginning to lag or the director and performers seem to be wandering aimlessly, the SM might suggest reviewing a scene, working on a song, or running a dance before everyone is dismissed.

The SM’s Day’s End

The day’s end is indeed a welcome time for the SMs too, but there is still work to be done. The performers have gone home but the director, choreographer, and musical director remain for a little while longer. The first order of business is to create the schedule for the next day. While this is being done, the ASM and the PA (production assistant) close up shop, so to speak, by putting away props, locking them up if that is possible, and just generally straightening up the room.

If the ASM is well versed and capable of translating the PSM’s notes for the next day’s schedule, then he or she may be sent off to enter the information into the computer for the final draft. Otherwise, that is the PSM’s next order of business. But even before any more work is done on the schedule, the PSM and the director go over notes, do business that could not have been done while the director worked with the performers, tie up loose ends, or possibly decide on a production meeting with the technical staff. Without becoming aware, it is during this time that the relationship between the SM and director grows and develops (for better or for worse).

Once the director has gone, the SMs and the PA meet to complete their business for the day, organize their notes, prioritize, make calls, send out emails, plan for the next day, and just generally tie up all loose ends. If the rehearsal room can be secured for the evening, the ASM and the PA might also set the props and furniture for the first work to be done the next day while the PSM starts work on the next day’s schedule or begins work on the daily report and entry into the SM’s logbook.

Upon completion of the next day’s schedule, it can be the ASM’s job of emailing the schedule to the different groups and then making the hard copies that will be distributed before everyone comes in for rehearsals on the next day.

After the first few days of rehearsals, all that must be done at the end of the each day after the performers have gone home should become routine, with the SMs and PA working efficiently so that all can go home at a reasonable hour.

By this time in the day, the temptation will be to put off some things till tomorrow. Under no circumstance should the PSM make this part of the regular way of working or allow an assistant to do the same. The SM must make it a working rule to complete all of the day’s business. Tomorrow will be filled with its own notes and list of things to do. There will be no room or time to do things left over from the day before.

At last the SM comes to the end of the day. Sometimes there is no choice but to take work home and finish the business there. In fact, the daily report and the SM’s logbook entries can be done at home. One thing is for sure, during the first week or two of rehearsals the SM’s social life is tremendously curtailed. Having dinner, taking a shower, and possibly falling asleep in front of the TV are about as social or eventful as an SM can be.

Production Meetings

Production meetings throughout the rehearsal period are an absolute necessity. If the director is not prone to making this a part of the work schedule, it is the SM’s job to suggest having production meetings, making time in the schedule, whether they are held before rehearsal or after.

The purpose of the initial production meeting during the SM’s pre-production time is to bring together all of the artistic and technical elements of the show, allowing each department to present its design, plan, and needs, and confirming to the producer and director that all departments are working toward the same artistic goals. Subsequent production meetings throughout the rehearsal period are held for some or all of the departments to present their progress, reveal any particular problems they might have, and once again ensure artistic integrity, time frame, and schedule. In short, production meetings are designed to let the right hand know what the left hand is doing.

Even with the ease and convenience of texting, emailing, the daily report, and sharing of files in Dropbox, production meetings remain a necessity. The simplicity or complexity of the show will dictate the number of meetings to have. There is no formula for how a production meeting is conducted. A brand-new production or the remake of a show may require some sort of production meeting every few days. The revival of a show that is to be a copy of what has already been designed and produced may require an initial meeting, perhaps one in the middle of the rehearsal period, and for sure one just before technical rehearsals begin.

Most times it is the SM who initiates the production meetings, but then steps aside and lets the director or producer take the lead. The SM becomes an observer and makes notes on anything that affects the schedule or is significant to the production. The SM pays attention to all departments as they speak, learning different facts, little things, seeing how the parts of the whole are coming together, and possibly seeing if there might be a problem or conflict. Between either the SM or the production manager, it is a good idea for a summary of the different discussions and decisions made to be put into a report and sent out to all staff, head technicians, and designers.

During the meeting the SM might intrude, asking questions to probe, clarify information, keep the meeting focused, or just generally play the devil’s advocate to open the conversation or to bring in another point of view. Anything more from the SM can become intrusive and perhaps self-serving. Once again it is not the SM’s job to be at the center but rather to be the backbone that holds everything else in place.

The SM’s Work—Continuing and Endless

The SM’s work in rehearsals is continuous and endless. An SM must have the ability to keep the business at hand going while attending to and dealing with whatever other matters come up moment to moment, including:

  • Monitoring and screening phone calls and then responding in order of importance
  • Answering questions and passing on information
  • Meeting the performers’ needs and dealing with the problems they may present
  • Keeping performers busy at productive things whenever they are not working with the director
  • Following script
  • Taking down blocking
  • Writing in cues
  • Noting all changes
  • Making notes on the notepad
  • Tracking props and adding new props to the list
  • Standing in and reading roles of actors who are not present
  • Checking in with the production office from time to time
  • Keeping the ASM and the PA busy and productive
  • Dealing with people who come into the rehearsal room
  • Keeping everyone quiet and focused
  • Changing rehearsal furniture and setting up other scenes to be rehearsed
  • And the ever-constant service and attention that must be given to the director

The information in this chapter is only part of the work the SM must do during rehearsals. There are still three more chapters of work to be done at the rehearsal hall before the rehearsals transition to the theatre and technical rehearsals.

Good News for ASMs and Beginning SMs: Once again, I offer to the reader and beginning SM that if all of what you have been reading feels overwhelming and impossible to achieve, I strongly suggest you stop and take a breath. All of which I speak is for the seasoned and experienced PSM. In your beginning years as an assistant, little by little these things will become part of your SMing work. Meanwhile, enjoy the comfort of being an ASM and serving a PSM who more than likely will lead you in the best of times and the worst of times. And if by chance one of your first jobs makes you the only SM, then you have this book to refer back to. This book is so well indexed through the table of contents and at the back that you can check out any subject to refresh what you may have forgotten.

Sound Bite—Barbara Beckley

In my interview with Barbara Beckley, cofounder and artistic director of the Colony Theatre, Burbank, California, I asked…

“Of all the SMs with whom you have worked, what one thing stands out that makes you remember them and want to hire them again?”

Barbara thought for a moment, and then replied simply, “Going the extra mile.”

She paused once more, but only to take a breath and not to think. She was on a roll and knew exactly what she had to say.

“Little things besides doing what is required in the job. A coffee and tea setup for the cast members. Finds out the kind of snacks they like and then goes out and gets them. If an actor is hurt or ill, calling them to see how they are doing.

“What I like about a stage manager is one that is there to serve the production, which means supporting the directors, the designers, the stage hands. The stage manager is willing to go that… extra mile. We are all in this together and that is what makes me remember the stage managers I have on my team and hire again and again.”

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