The PSM and ASM

It was stated in the first chapter of this book that the ASM must be capable of doing all that the PSM does, and the information in each chapter, though seemingly directed to the head SM, includes the ASM as well. Only when there has been a clear separation of work duties have the terms PSM and ASM been used. This rule remains even more steadfast when discussing the work to be done by the SMs in techs. Whatever work duties are prescribed for the SM in this chapter, either both SMs will share the job, or while one is busy doing something, the other will take up and do another. Again, when there is a separation of work, that will be clearly defined.

No Rest for the SM

On the last day at the rehearsal hall, the SM closes out everything having and, in most working situations, heads to the theatre on the next day. Depending on the show and the technical setup, the crew may have already been working at the theatre for one or more days. They may have some or all of the scenery set up, and they may be finishing with focusing lights and putting in the last pieces of sound equipment. In other working situations, the crew may be just starting their work—the drag-in or load-in.

The Cast’s Work Schedule

Most times the cast is given one or two days off before starting technical rehearsals. In an Equity production contract, this can be their last day off for two weeks. According to an Equity agreement, the producer can work the cast for fourteen days straight without giving them a day off and without having to pay overtime. In addition, the producer can work the cast each day for ten hours—two five-hour periods—providing they have a two-hour meal break in between. This makes the workday twelve hours long and gives rise to the expression “ten out of twelve.” As a third part to this work agreement, there is a twelve-hour turnaround clause—that is, whatever time the cast is dismissed at the end of one day, twelve hours of time off must pass before the cast can be called in for rehearsals on the next day. The SM must know each part of this rule by heart and schedule rehearsals accordingly, or the SM will cause the producer a great expense in overtime payments.

The Nature of Technical Rehearsals

Going into technical rehearsals can be like going into an Olympic event; the participants must be ready and prepared, and there is no room for mistakes or hesitation. Working at performance peak is the only acceptable level. Every department and person in the production must stand strong, deliver, contribute their expertise, and remain responsible for themselves and their work.

For someone who does not know all that goes into technical rehearsals, ten to fourteen days sounds more than adequate to put a show together. For a small comedy or drama, half the time usually is enough. Even when doing a musical, if all goes smoothly, ten can be sufficient. However, technical rehearsals seldom take place without problems, setbacks, or delays. It is the nature of the beast—there are just too many layers, too many departments, and too many new parts being put together for the first time. Technical rehearsals bring together the creators, designers, and artists with the theatre, stage, craftspeople, technicians, sets, props, costumes, lights, sound, and so on. In technical rehearsals, the show becomes the main event. Even the actors, who up to this time have felt themselves to be the center of the production, must now step aside while the different parts of the production are put together.

Technical rehearsals are a time when things can go wrong, and often do. No matter how talented or experienced everyone may be, problems arise. There will be differences of opinion. Creative and artistic minds may clash. The patience factor can crash, and confidence can plummet. People can become emotionally spent. In addition, there is the ever-present enemy—time. Relentlessly, time moves forward without regard for people, problems, or situations. To some degree, all technical rehearsals have these things.

The SM Entering Techs

Of all the participants in techs, the SM must be in top form, both in body and spirit. Technical rehearsals will test any SM’s endurance, skill, and performance ability. The SM will need to be confident and assured; stand strong, silent, and centered; keep a clear head; and not get caught in the drama when others may be ranting, raving, or going over the edge. An SM is best prepared for technical rehearsals by experiences from past technical rehearsals and by putting into application all the things we have discussed in this book thus far. Being ready for techs starts on the first day of the job, during the SM’s pre-production time. If the SM has faltered or lagged behind in any part of the job up to this point, it can come back to haunt the SM, especially in technical rehearsals.

The SM’s work in techs is wide, diverse, and aggressive. The SM appears to be focused only on the cueing script and learning to call the cues, but in truth continues working with the cast, serving the director, looking out for the producer’s interest, and being available to the technicians to answer questions and feed them information. The SM creates a realistic daily schedule, seeing that everyone continues to work in a productive capacity and speaks up if time is being abused or is slipping away. SMs must think on their feet and facilitate whatever changes the producer, director, or designers present. SMs keep a watchful and critical eye for potential problems, circumventing those that can be circumvented and resolving others with dispatch. While working in the present, the SM is continually looking ahead, anticipating what must be done next. In short, the SM is the clockwork master backstage during technical rehearsals, the mainspring that keeps other wheels, sometimes wheels bigger than the SM, moving.

During techs, the SM works quietly and carries a big stick, keeping a low profile but being assertive and aggressive when needed and appropriate. The SM is not, however, confrontational or combative. Technical rehearsals are a time when the SM must apply “people” skills to an even greater intensity. The SM is quick to evaluate and accept the responsibility of the problems that go with the job, but is just as quick to give to others the responsibilities of their own jobs and problems. Above all things, for technical rehearsals an SM must be ready! The SM should not be doing in techs anything that could have been done prior to going into techs. All of the above applies to the ASM as well.

The SM’s Work in Techs

The PSM and ASM arrive early on their first day of technical rehearsals. More than likely the crew is already there doing their work. The SMs’ entrance should go unnoticed. As much as possible, they should remain understated. From the start, the crew members will be observing them, sizing them up. Though the SMs will not be their bosses, the crew is anxious to know about the SMs—to see what kind of people they are. The SMs should go around, seeing the technicians with whom they have worked and introducing themselves to department heads whom they have not yet met. Conversations should be kept light, saving impending business for a little later in the morning.

The SM’s Second Day of Techs

Once again the SMs arrive early. More than likely, the crew is already at work. If the SMs were able to complete their list of things to do on the first day, today will be easier. The PSM will work more in an advisory capacity to the crew, answering questions that will aid them in completing their work before the director, staff, and cast arrive to begin the heart of techs. If the SMs have work left over from the day before, they will need to complete that work in addition to what must be done on this day.

The SM’s Psychology of Good Timing

Early on in a career, the SM learns when to approach the technicians to remind them of things or to have something done. In the examples of setting up the quick-change booths, putting the production table in place, or clearing the backstage before the cast arrives, it would have been futile for the SMs to have mentioned these things any sooner than an hour or two before they were needed. Previous to this time, the technicians were more than likely consumed with getting other things done—things that, in their minds, had greater priority. When the SM asks for something earlier than its hour of need, some technicians may assure the SM they will do it but then promptly forget. Some might even become annoyed, feeling that the SM is micromanaging, is a worrywart, or is just plain not allowing them to freely do their jobs.

In working harmoniously with crew members, the SM learns the best psychological time to approach technicians on matters when there is urgency and need for immediacy. At the same time, the SM must allow the technicians enough time to get the job done. Otherwise, they will accuse the SM of asking too late. If the producer and director have to wait while a particular thing gets done, many times they will turn to the SM, holding the SM responsible for the delay. All of a sudden, what was clearly someone else’s job and responsibility has now become the SM’s.

Gray Responsibilities

Throughout this book it is a continual theme that in the professional world the SM gives to associates, peers, and coworkers the responsibility of their own jobs. This is indeed a standard by which every SM must work. However, in the world of reality, the SM learns what parts of other people’s responsibilities the SM must take on. Gray responsibilities are work that is the responsibility of others but that the SM takes on to check and double-check to see that it will be done. If this work is not done, the blame can easily be placed on the SM. Such things as the quick-change booths and the production table are prime examples.

In the Line of Fire, Magnified

It has also been a reoccurring theme in this book that the nature of the SM’s position often places the SM in the middle of skirmishes or battles within the company. This fact is exemplified and magnified during technical rehearsals. In techs, when the cast, crew, and staff are working to put the show together, the SM becomes the central figure. The SM is the agent between the staff working out front in the darkened theatre and the cast and crew working backstage. When things are going well, the SM’s work goes unnoticed and is taken for granted. However, when patience is running short, tempers are beginning to flare, frustration is running high, and time is running out, people look for a place to hang their feelings and put the blame. Sometimes it becomes easier or safer to use the SM. Such terms as whipping boy and scapegoat can be applied. Producers and directors can be most guilty of such behavior toward the SM.

For the SM’s well-being, it is important that the SM knows the parts of the job and the things for which the SM is responsible. Then, during the times when it looks as if the SM is going to fall victim, the SM can clearly set the record straight and state what is the SM’s responsibility and what belongs to others. These things can only be learned through working shows and having experience. For a student, beginning SM, or ASM, much of what I speak will fall upon the PSM, so take heart while still in that part of your career, observe the danger zones, and keep in mind what you see, for surely one day as a PSM you will walk those minefields.

The Crew’s Expectations of the SM

At every turn in our discussion about the working relationship between the SM and the crew, the SM’s limited involvement with the crew becomes more evident. In technical rehearsals, it is the SM’s job to be ever watchful of all that is going on, yet not be intrusive in these observations of the crew. During techs, if the SM sees something wrong or something that needs to be changed, the SM goes to the TD or the head of that department to express these opinions or concerns. In doing so, the SM uses a careful approach and presentation to avoid putting the technician on the defensive. It is an established fact that the SM stays out of union technicians’ work. What the crew expects and needs from the SMs is that the SMs remain available to answer questions, maybe ask a limited amount of questions, know when to step in to voice their opinions, and create schedules that keep the technical rehearsals coordinated and running smoothly.

Cast and Crew Coming Together

There is an interaction and exchange between the cast and crew that every alert, observant, and aware SM experiences over and over when the cast and crew come together for the first time. This interaction is seldom, if ever, discussed or acknowledged. By the time the cast walks into the theatre, the crew has already put in a good amount of time and work in setting up the scenery and getting the technical elements into place. They have quickly made the theatre and backstage their home, and the physical part of the show their own. The cast, on the other hand, from the work they have done in the rehearsal hall, has also made the show their own. Upon coming together, each group, in its own way, can feel invaded by the other. These feelings can become even greater with a musical show, where there can be thirty or more cast members. The cast, often in an enthusiastic and demonstrative way, comes swarming into the theatre on their first day to investigate and make this new space their own. Some crew members become protective of their territory. Depending on the nature of the individuals and the chemistry of the two groups, this initial feeling quickly passes and the two groups bond, create a working relationship, and easily become friends. Other times, matters can go from bad to worse with tension mounting and many complaints given to the SM from each group, and on occasion little rifts emerge, which the SM must tend to and resolve immediately.

The Daily Tech Schedule

For a better overview of what a technical rehearsal day is like, it might be good to go over a typical schedule. Technical rehearsals can last from one day to fourteen. Musical productions can take up to fourteen days, while a simple one-set comedy or drama can take seven or fewer. By all standards, the technical rehearsal day is long. The actors work ten hours out of twelve, with the usual breaks. The crew too has union rules governing the number of hours they can work and the breaks they must have. However, because of the workload and the limited time the crew has to do their work during techs, their workday is often long, with their hours being extended and the producer paying overtime.

By Equity rule, the SM comes under the same agreement as the actors. However, the SM’s hours are not monitored and the SM puts in whatever hours it takes to get the job done. The SM seldom gets paid overtime unless the cast members go into an overtime situation. Perhaps Equity justifies the SM’s long hours by the fact that during the rehearsal period, while the actors are on a rehearsal salary, the SM is being paid a full salary.

A typical schedule for technical rehearsals follows:

▸ 8:00 am: Each technical department begins work. (Depending on the work the SM must do before the director and cast come in, the SM comes in around 10:00 am.)

▸ Noon: The crew goes to lunch. The cast arrives to begin their day. The cast has an hour to work before the crew returns from lunch. Generally, some IATSE (stage technicians’ union) rules require that there be at least a union stage technician present if not a skeleton crew if the director wants to use this hour to rehearse the cast. However, if the director is only giving notes or only wants to work onstage/set, without any of the technical elements, the union shop steward will often grant permission, relieving the producer from having to pay.

▸ 1:00 pm: Everyone works on teching the show—putting the technical elements together—cue by cue, working their way to run-thrus, dress rehearsals, and preview performances.

▸ 5:00 pm: Everyone has a dinner break. (The SM may or may not go to dinner, depending on what needs to be done before the cast and crew return. Many times the SM will have food brought in and will continue to work.)

▸ 7:00 pm: Everyone is back from dinner and continues teching the show.

▸ Midnight: Everyone is dismissed.

With this as a basis, the SM can create a good working schedule for techs. The only other factor to keep in mind is the turnaround time, the time when the actors or the crew members can be called back for the next day’s rehearsal: twelve hours for the cast and eight hours for the crew. In addition, there are some Equity contracts that limit the number of ten-out-of-twelve-hour periods that can be worked during the tech period. It is up to the SM to know the limits and particulars of the contract under which he or she is working.

Division of Labor

Most labor unions, such as the stage technicians’ union (IATSE), have some well-defined lines for the division of labor and distinctions between the work of one technical department and another. It is important for the SM to learn which department does what things. With this knowledge, the SM knows what to expect from each department and where to bring any questions, comments, suggestions, changes, or corrections. This division of labor is learned as a beginning SM works on shows as an assistant. Sometimes the new SM learns quickly because the technicians themselves will be the first to direct and set straight any SM who steps into their area of work or goes to the wrong department.

Along these same lines, it is also important that the SM knows not to do any of the work that is deemed technicians’ work. If some small job must be done—something as simple as moving a hand prop, taping a spike mark, opening a curtain, or sweeping up some litter—the SM must call for a technician from the correct department. An SM who decides to go ahead and do the work can be reprimanded, with the matter being taken to the union and to the producer. The only exception might be in an emergency, in a moment of danger, or to prevent an accident or injury. During such times, the SM should have no hesitation to jump in and lend a helping hand.

The Working Relationships of Techs

When all is going well with technical rehearsals, it is theatre working at its best. The show magically comes together, joining the creative, craft, artistic, and technical parts, everything fitting together as everyone had designed and envisioned. For the SM, technical rehearsals can be a time of excitement and accomplishment. This is the time when the SM makes an artistic contribution to the show by calling impeccably well-timed cues. It is also a time when the SM is given more of the responsibility for the smooth running of things. While in rehearsals this is an easier task because most of what happens the SM can control, now in techs there are so many more elements, so many more departments and people added into the mix over which the SM has no control.

Technical rehearsals are a complicated network of technical things and people. With the technical elements being designed and assembled separately, then coming together at the theatre for the first time, there are bound to be problems. For the SM, the technical problems are the least troublesome. Professional men and women have been hired to do the job. They know their craft and usually can handle whatever problems come up or make whatever changes are presented. It is the pressure of the limited time and the conflicts that can sometimes develop between people that are wearing and destructive to the overall process. No matter how much time is allowed for technical rehearsals, there is never enough. People seem to work under the same pressure and intensity whether given one day to do the work or ten days. In technical rehearsals, Murphy’s Law prevails—that is, if something can go wrong, it will! In the worst scenario, as problems mount people become insecure, protective, or defensive, tempers flare, or their egos become hurt or inflated. People will look outside themselves to find fault or to place blame. This is one of the places for the SM in that minefield of which I speak.

It is through all that can go wrong in technical rehearsals that working relationships can fall apart. This is another one of those subjects seldom discussed in preparing an SM for the job. Ignorance can be bliss, but not for an SM working a technical rehearsal. If and when technical rehearsals become less than picture perfect, it is important for the SM to know and understand the dynamics of why people are behaving and reacting as they are. With that kind of knowledge, the SM can get to the core of the matter rather than floundering about with everyone else. The SM can appease the person who might be feeling wronged or defensive by expressing understanding and suggesting rather than living in the problem, maybe moving over into the solution. This may sound good in book study, but it works too in actuality.

Let the Techs Begin

From some of what has been said about techs thus far, the picture painted appears bleak and grim. Sadly, it sometimes is that way. However, no one goes into techs expecting things to be bad. They just know that technical rehearsals are a fragile and intense time. Some of the darker colors presented here are to better prepare the student or beginning SM should the trenches become muddy with artillery fire bursting overhead.

Most times, on the first day the cast, crew, and staff get together to begin techs, the crew has already been working at the theatre since early morning. By the time the cast and staff are called in, it is time for the crew to go on a lunch break. Meanwhile, the cast and staff come to the theatre to settle in. The SM is there to greet and lead everyone around and get them ready to begin the technical work when the crew returns. Upon arrival of the crew, it is the SM’s intent to get the rehearsal started at the scheduled time. Seldom does it work out that way. There is always some delay. A thirty-minute delay is expected and manageable. Anything longer and the people, who are left waiting, especially those out in the audience at their tech tables, become irritable. For the SM this is no way to begin technical rehearsals. At the start of any delay, the SM must investigate, know the cause, find out how long it will take before the rehearsals can begin, and then report it to the producer and director. To use the time of the delay effectively, the director or SM might have the cast work on the stage, perhaps running some blocking, or have the choreographer work with the cast on one of the dance numbers.

The Heart of Techs

The SM is seated at the tech table out in the audience. The ASMs are left free to roam the backstage areas, to observe and troubleshoot wherever needed. The technicians are at their workstations. The actors are in place. The director, lighting designer, their assistants, and possibly the producer are seated in the audience at the production table. The stage is set for Act I, Scene 1. The curtain is down and the curtain warmers/preset is on.

If all has been working in textbook fashion, the SM already has the cues for the opening of the show written in the cueing script. If not, at this point the SM receives over the headset the cues and their timing from the director or lighting designer. The SM notes them quickly in the script and then over the headset puts in the warnings to the crew. The SM gives the STAND BYs and, when ready, calls the GO! cues that take out the house lights, raise the curtain, and bring up the lights for the first scene, which is the actor’s cue to begin doing their part. If the timing and execution of these cues are not as the director and lighting designer wish, they will stop the rehearsal to make changes or corrections. The changes or corrections may have to do with one or more departments. Each department makes its own notes, as does the SM with the notes that pertain to the SM. Thus, the technical rehearsals begin and continue—putting it together cue by cue, stopping and starting.

Laying in Spike Marks

Some shows require many things to be spiked—putting small pieces of tape on the stage floor to mark the corner of set units, furniture, or even where an actor must stand to be in a special light. The placement of these things on stage becomes established as each scene is worked and teched. For the most part, either the prop or carpentry department handles this job. As the techs continue, some of the marks may be changed as the director moves things around and adjusts the stage picture. When this happens, most directors will suggest that the spiking be done later—but, through experience, the SM has learned to do this job immediately or it will be forgotten or not spiked in the right place after things have been moved. This is where the ASMs working the backstage need to be alert and, as soon as they see or hear about anything needing to be spiked, have a stage technician ready to do the job. Meanwhile, the SM over the headset is saying to the director, “This will only take a second,” and when the director sees the job being done, accepts the moment of time it takes to do it.

Changes and Cleaning up the Cueing Script

In technical rehearsals change is a fact of life for an SM. It is the only constant on which the SM can depend. From the moment the performers step on the stage with the scenery and props, there will be change. From the moment the director and lighting designer see the cues they have set, there will be change. Change is an ongoing process from which the SM is never freed. There is no particular place or moment in the production of a show when the changes stop. Once the show opens and gets into its run, changes in the show take a new direction. The actors begin to improve on their performances and make changes. Even the SM makes changes, improving the timing in calling the cues for the performance.

To make changes in the cueing script, the SM must have at all times the colored pencil at hand along with a large smudge-proof eraser. When in the middle of techs, whatever changes the SM makes must be made quickly, with little delay, so the SM can then lead the stage technicians in executing the changes with the timing and perfection expected. While making these changes in the script, the SM must make them neatly and legibly because the SM may be called upon to call and execute these cues an hour later, a day later, or when going into the first run thru.

While much of the changing and rewrites of cues will take place on the spot during techs, it is also extremely helpful for the SM to have an extra copy of the script from which to take clean pages. In addition, it is extremely helpful for the SM to have multiple copies of the pages on which a large number of cues appear, as in musicals and scene changes/transitions.

Moving into the Next Phase of Techs

Once the cues for the show have been set and all the technical kinks have been worked out, the techs move into the next phase. This move is not extreme and is hardly noticeable except maybe to the SM, but it is a natural progression of working and running the show. It is a time to refine and make more changes, blending the work of the performers and crew, bringing all elements to performance level. There is still, however, one more technical element to be added—the costumes. They will come at the tail end of this phase.

It is also during this part of techs that the SM learns the cues and refines the timing in calling them. Not only must the SM have the cueing script performance-ready, but the SM must also be performance-ready. Waiting until dress rehearsals or preview performances is too late. By that time the producer, director, and everyone else is expecting the SM to call the show as if the SM had been doing it for a year.

Actors’ Entrances

One of the greater sins an actor can commit is to miss an entrance. It would be erroneous to say that during performance the SM is responsible for getting the actors in place to make their entrances. The only times the SM calls the actors to their places is at the top of the show and after intermission, just before Act II begins. From those points on, the actors are responsible for their own entrances. In rehearsals at the rehearsal hall the SM was more of a caretaker and would seek out actors if they were not standing by to make an entrance. This, of course, is not possible in techs and certainly not in performance. The SM starts early in techs to make the actors responsible for their entrances.

Having said this and having established this way of working with the cast, the SM still owes a responsibility to the show. It is the SM’s job to do whatever it takes to see that each performance runs smoothly and without problems. The SM does not abandon entirely the responsibility for actors making entrances, but instead becomes an observer—a monitor. Whenever possible throughout the performance, the SM checks to see if an actor is in place, ready to make an entrance. The SM cannot monitor all entrances, especially those out of sight and certainly those made on the opposite side of the stage from the console. The SM takes on this responsibility, but in no way communicates this to the actors. As soon as they know, some actors will relieve themselves of their responsibility and depend on the SM to do it for them.

To aid the SM in monitoring entrances, the SM marks in the left-hand margin of the cueing script (not in the right-hand margin, where the cues are noted) the character’s name and surrounds this information with a circle or box to make it stand out. Then, as part of looking ahead in the script for the next cues, the SM sees this information and checks to see if the actor is in place. In a musical, the SM tracks only the entrances of the principal and supporting performers, and not the entrances of the ensemble. The ASM also helps in this matter and will over the headset assure the PSM that a particular performer is in place.

Timing the Show, or the Running Time

As the technical rehearsals become less stop-and-go and more of a run-thru, the SM starts getting timings on the scenes and acts. The PSM usually does this job while calling the cues for the run-thru. However, if the show is busy with cues, the PSM might have the ASM do it. Only one or two timings are necessary at this point, just to give the director an idea of how long things are now running with the technical elements added. The SM either notes this information in the left-hand margin of the cueing script along with the date of the timing or starts using the performance timing sheets that were created way back in the SM’s pre-production time as noted in Chapter 6, “Hard Copy.” The SM already has noted in the rehearsal script the timings taken during rehearsals at the rehearsal hall, and the SM or the director can at any time compare those timings with the ones now in the cueing script.

The SM Moves from out Front to the Backstage

Once the cues have been set and the scene changes are beginning to run smoothly, it is time for the SM to move from the tech table out in the audience and into the backstage wherever it was decided that the console would be set for the run of the show. This is now the SM’s new home. Surprisingly, it sometimes takes a day or two to feel comfortable because the SM had grown use to calling the cues and observing the show from out front. Now it is whatever can be seen through the wings and mostly in the monitors set up at the console.

Show Rundown Sheets

This is also the perfect time for the ASM to print out and post the show rundown sheets throughout the backstage as presented in Chapter 6, “Hard Copy.” The backstage is more organized and arranged now to suit the run of the performance. All unnecessary things are packed away, the prop tables are set up, the workstations for the different technical departments become more defined, and the crew members settle into their space.

Remember, this list of scenes needs to be simple, easy to read at a glance, done in large print, and be placed where people are working or passing. This includes hallways, corridors, staircases, crew workstations, the back walls of the set, quick-change rooms, the SM’s console, the places where entrances and exits are made, and each dressing room. Show rundown sheets are mandatory for musical shows, but the SM also should make it a habit to post them even for a one-set comedy or drama.

Dry Techs

In any technically difficult show where there might be a lot of scenery and scene changes, it is in the best interest for the crew and SM to have one or several dry techs—that is, a rehearsal with the crew but without the cast. During a dry tech, the SM sits at the console while the crew members take their places at their workstations. Together, as if in a performance, they run the more technically difficult cues, stopping to correct any mistakes. This kind of rehearsal is often done in the morning hours before the cast and other staff members come in to do their work.

Scenery Plot and Fly Plot

In some academic, community, or regional theatres, the SM may be required to make up a scenery moves plot and a fly moves list. As for the scenery moves, this is where the SM’s personal-size floor plans can be put to an even greater use. As for the flys, a list is more usable and quicker to read during the performance.

In larger productions, as with Equity production contracts and shows destined for Broadway, the SM is not required to do such work. The heads of each department will create their own working plots or lists. At the end of the run of the show, however, the SM may want to create a scenery plot and fly plot for the production book that will be turned in to the production office.

Checking Sight Lines

Just before the start of dress rehearsals and preview performances, it is a good idea for the SM to check the sight lines from both the backstage as well as the audience. From the perspective of backstage, the SM needs to stand in each wing or opening of the set and mark on the floor with white tape the closest point at which a person can stand or a piece of scenery can be placed without being seen by any member of the audience. From the perspective of the audience, the SM sits in the seats at the far ends of the rows closest to the stage to see that all openings on the stage that can reveal the backstage are sufficiently covered with curtains or flats. The stage technicians, however, are very good at covering sight lines before the SM has to make any mention of it, and while this may seem unimportant in relationship to all the other things to be done in techs, it is nonetheless important. For audience members, seeing actors or scenery waiting in the wings is distracting, spoils whatever illusion might have been created, and hurts the magic of theatre.

The Blue Work Lights

Once the backstage area is organized, the crew’s workstations are established, and everyone is familiar with what they must do during the performance, the SM should ask that the overhead work lights backstage be turned off. As soon as possible, the SM needs to get everyone backstage working under the same conditions they will be working during performances. Of course, people cannot work in the dark. They must have some light at their workstations, light reflecting on the prop tables, and some general lighting so they can move about safely. Some theatres will have lighting instruments with blue gels already set up. If not, the electric department needs to set them up. On the list of things the electric department must do during techs, the blue work lights are a low priority. If the SM does not ask for them and show they are a priority on the SM’s list, the blue work lights can be put off to as late as an hour before dress rehearsal. Having the blue lights up and functioning becomes, for the SM, another one of those things that must be approached with good timing. In the poorest of situations, the SM may have to push and be assertive in getting this to happen sooner.

Through experience, SMs and technicians have found that the color blue is the best choice for these lights, possibly because blue is more like the light of night and people are comfortable with it psychologically. Green and red feel unnatural, while amber can be too bright, even when at a low intensity.

Crucial Cues to the Show

Also toward the end of this second phase in techs, the SM might go through the cueing script looking for cues that are so integral to the show that if they do not take place, the plot, storyline, or action will be hurt—their absence might even stop the show. With each crucial cue, the SM must decide what the SM, the cast, and the crew can do to quickly rectify a mistake or how to continue the performance without it. They must discuss an alternative plan for each crucial cue. Simple examples of such things might be a telephone that does not ring, a gun that misfires or jams, a door that won’t open, or a special effect that goes wrong or does not happen. An alternative plan is excellent insurance for the show. Even with a high probability that the problem will not occur, the SM should take such measures. It is worth the time and effort.

Costumes, Hair, and Makeup

Just about the time in techs when the show is being run almost nonstop, the costumes are added to the show—the frosting and decoration on the already delicious cake. Each director, producer, or production company does this part of techs differently. The differences also depend on the type of show. A six-character, one-set comedy or drama will be quite different from a full-scale musical.

Some directors or producers want a formal dress parade in which the actors individually come out onstage, under the stage lighting, to display or model each of their costumes while the director, producer, designer, and their assistants sit at the production table, making notes. Other producers and directors may introduce the costumes slowly to the show by having the actors wear only bits and pieces or having the actors wear the costumes for only one particular scene. Often, due to the lack of tech time, all the costumes are introduced in an afternoon rehearsal, and then for the rest of the day the rehearsals are devoted to whatever problems might surround the costumes. Usually, by the next day or no later than the day after, the costume problems have been resolved and the actors have adjusted quickly, welcoming the final touch to their characters. Makeup and hair may also be introduced at the same time as the costumes, or the director may have the actors add makeup and hair after the costumes have been reviewed and the problems resolved.

On the positive side, adding costumes, makeup, and hair is fun and exciting, and is a final touch to the actors’ characters and the show in general. However, adding these things can also be upsetting, especially if they are of a different period or are fantastic in design. First, there is the problem of getting used to the feel and the fit. Then there is the part of doing the blocking and stage business with whatever problems the costumes might present. Also, up to this point when the actors came offstage in the rehearsal, they had leisure time before the next entrance. With the addition of the costumes, makeup, and hair, they must now be concerned with these things to be ready for the next entrance, especially if the change is quick. There are also those actors who just do not like what has been designed for them.

During the introduction of costumes, makeup, and hair, the SM needs to be alert to the problems and feelings that some of the actors might have. The SM needs to troubleshoot wherever possible, calming a person who might be upset, assuring another that the problems will be heard and resolved. The SM reports to the wardrobe or hair departments all the problems they can handle and keeps the director and designer informed of the problems that might not yet have reached them.

Musicals: The Orchestra

As has been stated over and over in this book, with musicals there is more of everything: more people, more scenery, more cues, more scheduling, more costumes, more problems, and for the producer, more money spent. At this point in our discussion of techs, the only element left for a musical is the music part of the show—the orchestra.

Before the Arrival of the Fire Marshal

Sometime at the end of this second phase of techs or at the beginning of the next phase, it is wise for the SM to approach the TD and ask if everything that needs to be fire proofed or sprayed with fire-retardant chemicals has been done, or is going to be done. Also, the SM needs to check all fire exits and fire lanes to see that they are cleared, or going to be cleared before the fire marshal comes. The SM should also remind the TD of the fire extinguishers, asking if they are up to date and accessibly placed. If the techs have been particularly difficult and are running behind schedule, or if the TD has forgotten, the TD may respond defensively or be thankful for the SM’s reminder. An SM can only do the job and be prepared for either response.

The Final Phase of Techs

In this final phase of techs at least one dress rehearsal is scheduled. Before the opening performance the producer may also schedule one or more preview performances. If there are no preview performances, on the day of the opening there may be a dress rehearsal in the afternoon with the opening performance at night. In other cases, if all has gone well, the director may call a short rehearsal in the afternoon, giving the cast and crew the time off to rest and prepare for the opening performance that night.

The Director Giving Notes

Sometimes immediately after a dress rehearsal or preview performance the director will give notes. Other times this will be done just before the next run-thru or performance. The notes are mostly for the cast members, but one of the SMs always attends the note sessions, and sometimes the heads of the different technical departments will attend.

Performance Show Reports

Once the show gets into dress rehearsals and preview performances, the SM starts filling out for each performance a show report sheet, as presented in Chapter 6, “Hard Copy.” An important part of this report is noting the timing of each act. By dress rehearsals and previews the timing of the acts and the overall show is closer to what it will be throughout the run of the show. This is usable information for anyone who seeks it from the SM. It is especially useful to the house manager, who needs to prepare the staff for intermission and the end of the show. Also, the box office likes having this information to tell patrons who might ask.

Production Photos or Videos

Often in this final phase of techs the producer and publicity department want a photo session to get production stills and video. Having a photo call at this time should be no surprise to anyone. It more than likely was placed on the block calendar that was handed out during the first week of rehearsals. Once again, if all has gone well in techs, the cast, crew, and staff are ready for this part of techs. If not, all are a little resentful at having to use precious tech time to do this work.

Some picture calls, for both still photos and video, can be simple and uninvolved. The photographers may do their work standing on the apron of the stage or moving about in the orchestra of the empty theatre. I have even seen a special platform quickly built overnight by the stage crew out in the audience upon which the photographer stood to get his shots while the cast did a run-thru of the show. Some sessions may involve only the principal performers, while others, as with a musical show, may require the entire cast. With other photo calls, the publicity department may want to set up and stage the pictures, using additional lights specifically for the camera. These events can take up as much as the two rehearsals periods allowed with the twelve hour working day, sometimes flowing over into the next day.

Picture calls are governed by Equity rule. It is important that the SM refers to the Equity Rulebook and knows the details, especially when it comes to videotaping. If things are not done according to Equity agreement, the session can end up costing the producer a good amount of money—money the producer is neither prepared nor willing to spend.

It is the SM’s job to find out the type of photo session, the needs of the producer, what the publicity department might want, and then coordinate the event accordingly. Some producers, directors, and even textbooks say the SM is in full charge of the photo shoot. The truth is, on the day of the shoot, the SM takes more of a secondary position, assisting and doing whatever the director, producer, publicity people, and even the photographer wants. The SM is there to facilitate, organize, keep order, work out logistics, keep the event moving, make suggestions that can make things easier and save time, put together the list of pictures as dictated to the SM, tell the crew when to change the scenery or lights, and see that the actors who are not being used onstage are getting into their costumes and are ready for the next picture to be taken. On some occasions, when the SM might have the producer’s and director’s confidence, the SM might be called on to run the entire affair. At those times the SM draws on any artistic experience as well as the experience gained from doing other photo shoots.

Piano Tuning

If in fact some kind of a piano is used, whether it be a baby grand, spinet, or upright, one of the last things to be done before preview performances or opening night is to have the piano in the orchestra tuned. Today, electronic keyboards are mostly used and require no tuning. However, in large musical shows with detailed instrumentation, a piano is often part of the musical arrangement. The music director is responsible for having the tuning done and usually makes the arrangements through the production office. Sometimes the music director asks the SM to set it up. It is natural that the piano tuner prefers doing this work in a quiet theatre. Whenever possible, the tuner is scheduled early in the morning before everyone arrives, or during lunchtime when everyone is gone. If the piano tuner can come only during the day when the crew needs to be working on the stage, the SM will have to arrange with the TD to keep the pounding and running of electrical tools down to a minimum. It is best to have the piano tuner come to do this work in the morning. Then if there is a problem and the piano cannot be used, there is still time to bring in another.

More on the SM’s Working Relationships

Once again we come across a gray responsibility for the SM. Even though piano tuning is not the SM’s responsibility, the SM checks to see that this work has been done or will be done. Remember, it is the SM’s job to do whatever must be done to have the company and rehearsal running smoothly and without delays.

Sometimes, however, when the SM inquires about something that is someone else’s responsibility, three things may happen: the person being asked may thank the SM for inquiring or reminding them; the person may become defensive because they are in some way delinquent in this part of their job; or the person mistakenly thinks the SM is stepping in to do the job. Some less responsible people may try to pass their work on to the SM. It is important for the SM to know human behavior and the people with whom the SM is working. When inquiring about a thing or a job that belongs to someone else, the SM needs to approach in a nonthreatening and nonconfrontational way, assuring them that the SM is there to help and not to criticize, complain, or point an accusing finger, and most of all not to take over the responsibility of the job.

A New Beginning

In many working situations, the final dress rehearsal or last preview performance marks the end of techs. For a new show or the makeover of a show that has been previously produced, rehearsals after the opening—rehearsals resembling techs—may continue until the artistic staff is satisfied. When techs finally end and the show is about to go into its run, a heavy sigh of relief and pleasure can be taken by all. Technical rehearsals are a monumental task and a lot has been done in a very short time. For the producer, techs are an expensive period of time. The producer is now anxious to get the show in performance with the hopes of recouping the initial investment, and then making a small fortune. The director and the actors too are pleased and relieved, but there is no time to savor the moment. With the opening performance comes the reviews, critically acclaiming or disclaiming the performances, the show, or the director’s work.

The SM too can take a moment to enjoy the accomplishment of techs, and possibly reflect on a job well done. The SM cannot rest on any laurels, though, but must move swiftly into the next part of the job. If the show is new and possibly headed to Broadway, changes, rehearsing, and teching will continue, sometimes in bits and pieces and other times with whole scenes or acts. This will continue until the show opens on Broadway and goes into its run. Once the show goes into its run, the SM’s work will become less intense; hours will become more normal and the SM will be able to have more of a personal life. However, the demands on the job will remain the same—the SM will need to focus attention and energy to caring for the company and maintaining the show as set by the director.

The Professional Experience: An SM Overwhelmed

Just at a time in my career when my resume had some good credits and I thought I had done it all, I got a production of the musical My One and Only. It was a West Coast production and I was thrilled to get the show because a good friend was directing and starring in it. The rehearsal period was one of the best I had experienced. I worked well with my friend and he allowed me more artistic contribution than any director had previously. I had no concerns about the technical rehearsals. I had worked in the theatre in which we were performing and knew most of the crew. I was aware that the show had some technically difficult places by the number of cues I had accumulated in the cueing script. I knew I was going to be one busy SM during the performance, especially for the opening sequence, which ran nonstop for twenty-two minutes. No problem! I had behind me the experience of burning Atlanta every night for twenty weeks in the musical production of Gone With the Wind. How bad could anything else be? I had no idea what I was about to embark upon.

The opening to the show had many parts with musical numbers and quick dialogue scenes. First, there was a rainstorm with small flats of painted clouds flying in and out and across the stage. A combination of a real rain curtain and a lightning effect created the illusion of stormy weather. Of course, there were flashes of lightning cues and sound-effect cues of thunder. There was a bevy of tap-dancing girls with umbrellas and slickers, dancing everywhere. At one point the rain stopped, the clouds parted, the sun came out (all requiring cues), and the handsome lead aviator character Billy “Buck” Chandler entered from above, hanging from a parachute. He was lowered to the stage, released from his harness, and as all lead aviator characters do, he sang and danced with the girls.

To give the female lead of the show, the lovely Edythe Herbert, channel swimmer and aquacade star, an equally impressive entrance, the scenery changed before the audience’s eyes. We were now at a train station as a train unit was cued to roll out on the stage, with many blasts of CO₂. The door to the train was cued to slide open and out came more tapping beauties—the same dancers as seen in the slickers, but now in colorful bathing suits of the period. They of course tapped their hearts out before Edythe slipped in place at the train door. The lights changed to focus on Edythe while many flashes of lights filled the stage, as if from hundreds of news pictures being taken. The flashes were outrageously out of proportion to what the three or four photographers on stage could possibly shoot in that moment.

With Edythe’s entrance there was more singing and dancing. Other principal characters appeared with special light cues to point out their entrances. Then, in a moment in time, the lights changed and the stage picture froze. Billy and Edythe’s paths crossed. They saw each other. They were drawn to each other but never left their frozen positions. It was magical. The moment was brief. The lights were restored to their original setting and the soon-to-be lovers continued on their way. The opening sequence finally came to an end, but all is not over for the SM, because in the dark he must now cue a life-size propeller plane to be brought onstage before bringing up the lights. This, of course, must be done quickly so that the momentum of the opening and the pace of the show is not lost. When the lights come up, the sight of the plane is impressive and the audience reacts, first verbally and then with applause.

It took us all afternoon and evening to set the cues for this sequence and then we tried running it. The director, who was also playing Billy, remained in the audience while his understudy ran the part of Billy onstage. Running the sequence was highly problematic for me. There were just too many cues, too many elements. The timing was outrageously fast. There wasn’t enough time for me to read the cues in the script and then look up on the stage to take the visual cues. My timing was off. Also, with scenery and performers moving on the stage at the same time, there was an element of danger. With the least little thing being cued at the wrong time, someone could be injured.

I was overwhelmed. At first I would not admit defeat. I had worked with hard groups of cues before, but now I could not reach the accuracy and perfection the director and lighting designer were expecting in such a short time. In my desire to please, I put even greater demands and pressure upon myself. Each time we had to stop the rehearsals, I could feel the annoyance from everyone around. I could hear expletives of disapproval over the headset coming from the lighting designer, and at one point I heard the director make a comment that showed his lack of understanding and support for me. It was not meant for my ears and it was said out of his frustration, but nonetheless, I heard it. I was hurt and at the same time baffled. This was supposed to be my friend. He knew my capabilities. He knew how difficult the sequence was. I became defensive and felt a great need to confront the director. One of my weaknesses as an SM was my inability to let pass abuse directed at me. SMs need to have a great tolerance for abuse, but I never reached such a level. I said over the headset, “I heard what you said and I think it very unfair of you not to allow me the time to learn my job as you have allowed others when they were first learning their parts.” The director was contrite and apologized. Fortunately, I still had enough sense about myself to ask if we could leave this segment and move on. The director agreed and I felt a sense of relief, as did everyone around.

I went home that night broken in spirit. I had never been so defeated. I could only sleep a few hours. When I awoke, I was compelled to study my script. I was becoming more familiar with the placement of the cues, but I could only perfect my timing by actually calling the cues and seeing the action onstage. I tried playing the original cast album, but in many places the arrangement was different.

On the afternoon of rehearsals that day, we did not go back to the opening sequence. I was thrilled to have the reprieve and another day to study. While everyone went on dinner break, I stayed behind. I sat at my console and practiced calling the cues. It was a great help to be at the console, talking through the headset, turning on and off cue-light switches, and looking at my script and then at the stage, seeing in my mind’s eye the action. I felt comfortable and at home.

When everyone returned from dinner, I was certain we would continue rehearsing from where we left off. Instead, the director asked that the stage be set up for the opening. My heart sank and I broke out in a mild cold sweat, while visibly maintaining composure and giving an air of confidence. Despite all my study, I had improved only a little. It was progress, but still not enough for everyone else. At one point the director said over the headset, “What is the problem? What should we do? Should we have the ASM take some of the cues? Maybe we can have the stagehands take some of the cues on their own.”

“No!” I insisted. “The stage manager is supposed to call all the cues for the show. He is responsible for the timing. Give me a little more time. I know I can get it. The stage manager on Broadway called all the cues for this sequence, and from what I understand he had more cues than what I have.” Perhaps it was my ego speaking, but I was insistent enough to convince the director. He said he would not get back to the opening until Friday.

The heat was on. I was now burdened with the fact that, by Friday night, I had to deliver! I knew I had to do something more to learn this sequence—change my way of studying. The answer was simple. I needed to make a cassette recording of the opening as we were performing it. The ideal thing would be to have the sound person record the opening as the cast performed it onstage. To do this, I would need a chunk of time out of the rehearsal (at least a half-hour) and the services of many. This was not practical in the tight schedule of working techs. It then occurred to me that except for some of the dialogue moments, the entire opening was filled with music. I simply needed to get with the rehearsal pianist and have her play the music while I recorded it. On the first five-minute break we had that night, I cornered the rehearsal pianist in the orchestra pit, and with the offer of a bribe, I begged her to aid me in my hour of need. Without hesitation she agreed. She said she would come in an hour before the rehearsal on the next day and we could record it in the pit while the crew was at lunch and the theatre was quiet. Perfect! And so we did!

After the recording session and for the next two days, with every chance I got, which was usually in the morning before the cast arrived and during the midday meal break, I sat at the SM’s console with my cassette player and rehearsed the sequence. I even did “head” rehearsals, like the athletes—seeing myself calling the cues perfectly and successfully, while visualizing the scenery, lights, props, and actors moving about the stage. By Friday I triumphed. I was 98 percent improved. The few mistakes I made were negligible. At the end of the opening sequence and when the lights came up for the next scene with the propeller airplane perfectly in place, the cast and crew cheered and applauded me. It was my Tony-winning performance, a moment I have remembered and treasured ever since.

Interview

▸ Interviewer: What qualities do you like in a good SM?

▸ Brad Enlow – Technical Director: Communication is a big one. I rely on the stage manager for clear communication, between the director and me. The stage manager is the buffer. In techs, while the director is out in the audience I am backstage; many times it is the stage manager who delivers to me what the director wants.

▸ Interviewer: Does this mean that the SM has to have a good working technical knowledge?

▸ Brad Enlow: It helps, but not completely necessary as long as the stage manager can convey in my terms. The stage manager has to be knowledgeable enough that if the director asks for what seems like a simple change but in reality can be costly or time consuming, the stage manager can initially tell the director the problem or problems involved. Also, I like when in techs if the stage manager sees something that might be a problem or is just not working, the SM tells me about it in anticipation, rather than waiting for the director to give a note on the matter.

Sometimes a director can be “flowery” or creative in saying and describing what he wants. For example, one director I worked with before I came to the Playhouse told the stage manager that he wanted the stage right side of the bridge unit painted a little “yummier.”

Yummier? What does that mean?

Fortunately, the stage manager was experienced enough to find out what the director meant by “yummier” so that when she came to me, she said, “The director wants the tail end of the right side of the bridge painted so that it blends into a brighter color, maybe using orange and yellow because the bridge is the transition from the real world into the fantasy world.” That I understood!