Index
Abbott, George 22
abbreviations: assistant stage manager 5; blocking script 172–83; character name abbreviations 179, 180; cueing script 206–8, 209, 210, 211, 212–19, 220; directional stage arrows 180–81; general stage abbreviations 181, 182; production stage manager 5; scene/character tracking chart 55
accounting department 21
acknowledgements: congratulatory items 266; during cueing script 226; opening performance 269–70; sound department 88
actor/character list: description of 59–60; pre-production time 146
Actor’s Equity Association (AEA): Broadway production contract 111; callboard 153, 244; casting board 119; chain-of-command 18, 23–4; closing the show 315; daily rehearsal schedule 70; employment 33–4; Equity bond 315; Equity business hour 33–4; Equity card 33–4; Equity deputy 24, 111, 124, 145, 156–57; Equity Rulebook 166; job resume 31; pre-production time 142, 145, 153; professionalism distinction 4; rehearsal 156–57, 158–59, 161, 162, 164, 166; rehearsal absences 63; rehearsal hall setup 153, 156–57; rehearsal hall transition 202; run of the show 272, 281; technical rehearsal 239, 244, 255, 259; technological advancements 236; ten-out-of-twelve rule 239–40; touring show 291, 292; turn-around clause 239; working relationships 99, 111, 119. see also auditions
address list: cast 65, 66; email 65; group email 67; personal experience 65, 67; pre-production time 144, 145; show closure 314–15; staff 65, 67; technical staff 65, 67
American Federation of Musicians 23
anger 96
archival heading: personal floor plan 77; rehearsal sign-in sheet 60; scene/character tracking chart 56, 57
around-the-clock blocking 179
arrangers: chain-of-command 22; working relationship 105
arrows: blocking script 180–81; cueing script 213
assistant director: chain-of-command 22; working relationship 104
assistant stage manager: abbreviations 5; chain-of-command 23; division of labor 5; portable office 42, 44; qualities of 14; rehearsal hall transition 198–99; run of the show 279–81; touring show 300, 301
assisted listening system 233
associate producer: chain-of-command 19; working relationship 100
audience orientation: blocking script 172; technical rehearsal 242
auditions: audition calls 125–26; auditioning staff 124–25; audition room 131, 132–33; audition site 127–28; by appointment 125; callback audition 136; cattle call 125; cell phone sign 130, 131; closure process 135; dance audition 126, 128, 133; dance mirrors 133; directional signs 129; employment 136; Equity deputy 124; instruction sheet 129, 130; lead role 126; lighting 133; musicals 125–26, 128, 133, 134; non-Equity performers 127; no-smoking sign 130; office carrying bag 128; open call 125; performer information sheet 128–29; performer introduction 133–34; performer representative 126; performer service 134; personal experience 128, 129, 135; preparation for 127–28; professional experience 137–39; reading scenes with performers 134–35; reception room 131–32; reception room seating 132; script familiarity 127; second-chance auditions 135; sides for scenes 130–31; signage 129–30; sign-in sheet 129, 130; sign-in table 131–32; singing audition 125–26, 134; staff table 132, 133; stage access 132; stage manager opinion 136; stage manager table 133; stage mark 133; star performer 126; theatre auditions 132; timing 135
author 102
automation department: chain-of-command 24; cueing script 207; technological advancements 230, 231–32, 237–38; touring show 300–301; working relationship 114
Beckley, Barbara 3, 10, 12, 28, 39, 168
Bennett, Michael 21
black art 308
black drapes 308
block calendar: coordination of 67; defined 67; distribution of 69; examples 68, 69; personal experience 69, 142; pre-production time 141–43; publication of 67, 69
blocking script: apron 174, 175, 176; arena staging 178–79; around-the-clock method 179; audience orientation 172; basic stage parts 172, 173; center points 176, 177; center stage 172, 173, 174; character name abbreviations 179, 180, 212; complete stage breakdown 176, 178; cueing script 187; dead center 174, 175; defined 170–71; directional arrows 180–81; down center 174, 175; down stage 174; down stage left 174, 175; down stage right 174, 175; electronic blocking 171–72; example 189; excluded blocking 184; famous blocking examples 171; for busy scenes 181, 183; general abbreviations 181, 182; horizontal stage division 174, 175, 176; house curtain 173, 179; house left 172; house right 172; musicals 170; numerical blocking 184, 186; penmanship 184, 185; performer stage moves 180–81; personal blocking 171; personal experience 170, 176, 184, 187; picture drawing 181, 182; proscenium 173, 179; responsibility for 171; run of the show 280–81; show closure 314; speed requirements 171–72; stage abbreviations 172–83; stage breakdown 172–78; stage left 172; stage right 172; theatre-in-the-round 178, 179; theatre-in-the-square 178–79; up center 174, 175; up stage 174; up stage left 174, 175; up stage right 174, 175; vertical stage division 174, 175, 176, 177; wings 173, 179
blueprints 73
blue work lights 254
board of trustees 19
body mic tracking chart 88
boundaries and expectations 98
boxed information 210
Broadway production contract 111
Burrow, Abe 22
bus-and-truck tour 290
callback audition 136
callboard: Actor’s Equity Association (AEA) 153, 244; rehearsal hall setup 153; technical rehearsal 244; touring show 299
calling script. see cueing script
caret mark 208, 209, 210, 211, 212–13, 221
casting board 119
casting director: chain-of-command 20; working relationship 101
cattle call 125
cell phones: audition restrictions 130, 131; electronic carrying case 43; rehearsal restrictions 159
chain-of-command: Actor’s Equity Association (AEA) 18, 23–4; coaches 18; creation of 17; creators 17, 21; designers 17, 21; musicals 17, 21, 22–3; performance site 18, 25; performing artists 18, 23–4; personal experience 21, 26; production executives 17, 18–20; production office staff 17, 20–21; production staff 18, 21–3; shops and vendors 18, 25; special designers 18; technical staff 18, 24–5; trainers 18
Champion, Gower 21
character/actor list: description of 59–60; pre-production time 146
character name abbreviations 179, 180, 212
child performers: parents 110; teacher/social worker 110; working relationship 109–11, 121–22
choreographer: chain-of-command 23; working relationship 105–6, 120–21
Civic Light Operas 3
closing the show: blocking script 314; cueing script 314; departures 315–16; emotions 312; Equity bond 315; final address list 314–15; last-performance pranks 315; notification of 312; personal library 314; personal props 315; preparation for 313; production notebook 313–15; professional experience 316; stage manager role 312–13
coaches 18
Colony Theatre 3
color: coding cueing script 208, 210; colored forms 61; color lighting system 233, 234–35; CYM color system 233, 234–35; RGBW color system 234; three-colored prismatic lenses 234–35
company manager: chain-of-command 20; run of the show 272–73; touring show 291, 293–94; working relationship 100–101
composer: chain-of-command 21; working relationship 102
computer light board operator 115–16
conductor 22
conflict resolution: technical rehearsal 246, 247; working relationships 97–8
contact sheet: description of 67; preproduction time 145
control and perfection 97
correct-spelling-of-names list 81–2, 160
costumes/wardrobe: chain-of-command 25; costume designer 117; dressers 117; head of wardrobe 117; personal costuming 255; pre-production time 142; rehearsal hall transition 197; rehearsal measurements 160; rehearsal script 169; working relationship 117–18
Coward, Noel 22
Crawford, Cheryl 5
creators: chain-of-command 17, 21; composer 21, 102; lyricist 21, 102; writers 21
cueing script: abbreviations 206–8, 209, 210, 211, 212–19, 220; acknowledgements during 226; arrow of immediacy 213; as master plan 204; assembling cues 206; automation 207; blocking notes 187; boxed information 210; bracketing cues 212–13; calling clarity 224; calling cues 219, 221, 223–26; calling flow 225–26; calling inflection 225; calling pattern 224–25; calling rhythm 224–25; caret mark 208, 209, 210, 211, 212–13, 221; character name abbreviations 212; color coding cues 208, 210; complex transition cues 214–15, 216; cue groupings 213; curtain warmers 218; cutting/pasting scenes 205; examples 209, 210, 211; five-count call 212; follow cues 213; go cue 224; half-hour call 218–19; hand cues 226; information gathering 205–6; light cue count 212; lighting 206, 212; manuscript size 204–5; musicals 205; night vision strategy 225; opening performance 265; personal experience 204, 205, 208, 210, 215; point cues 210; preparation of 204–5; preset 218; professional experience 227–28; projection department 206; quick-turn-page cue 224; rail 207, 212; rehearsal hall transition 196, 199; revisions 252, 260, 265; run of the show 272; show closure 314; show-time cues 218–19, 220; simple transition cues 214, 215; sound cues list 88, 89; sound department 207; spotlight cue 207, 213–14, 224; stage manager console 221–23, 226; stage reaction time 221; stand-by cue 223–24; tabbing scenes 205; technical rehearsal 252, 254, 260; transitional cues 214–15, 216; transition visualization 226; visual cues 213; warning cue 207, 216–18, 223
curtain call 270
curtain warmers 218
daily rehearsal schedule 70, 71, 72, 164–65
dance/blocking numbers 152, 245–46, 300–301
dance captain: chain-of-command 23; working relationship 23
dance mirrors 133
days off: during performance 63–4; during rehearsal 63; run of the show 281
designers: chain-of-command 17, 18, 21; rehearsal hall transition 198; special designers 18; technological advancements 232; working relationship 111
dimmer board 234
dimmer rack 234
diodes 229
directional stage arrows 180–81
director: assistant director 22, 104; casting director 20, 101; chain-of-command 21–2; following script 191; musical director 22, 104–5; preproduction time 142; rehearsal 160, 161, 162–64, 166; technical director 24, 114, 122–23; technical rehearsal 245, 249–50, 258; working relationship 102–4, 162–64, 166, 249–50
DLP digital projector 237
DMX (data matrix) cable 234
dogged-in 231
doorman 25
drag-in 114
drag-out 114
dressers: chain-of-command 25; working relationship 117
dressing room assignment: list for 88, 90; nameplates 243; technical rehearsal 242–44
dress parade 255
dry ice machine 236
dry tech 254
electrical department: audition lighting 133; chain-of-command 25; computer light board operator 115–16; head electrician 115; lighting designer 115; spotlight operator 116; working relationship 115–16, 123. see also lighting; spotlight operator
electronic blocking script 171–72
electronic rehearsal script 147
elevation drawings 73
employment: Actor’s Equity Association (AEA) 33–4; contract negotiation 34; job interview 31–3; job leads 27–8; networking 28; performer auditions 136; personal experience 27, 28, 30, 35, 39–40; personal financial planning 34–5; professional experience 35–7; professional interviews 28, 37–9; reputation 31; resume 28–31; survival kit 35; unemployment insurance benefits 35; word-of-mouth 31
Equity. see Actor’s Equity Association (AEA)
Equity bond 315
Equity deputy 24, 111, 124, 145, 156–57
Equity Membership Candidate Program (EMC) 31, 34
Equity Rulebook 166
Excel 54
executive assistant 20
executive producer: chain-of-command 19; working relationship 100
expenditure deductions 52
fear 96
feeding lines 285
Field, Ron 22
fire marshal: chain-of-command 18, 25; technical rehearsal 257
first-contact email 144
five-count call 212
five-minute call 268
fly 24
fly plot 254
fly space 24
fog machine 236
follow cues 213
forms: adding color 61; defined 55
Fosse, Bob 21
founder: chain-of-command 18–19; working relationship 100
French scenes 58
front-of-the-house staff: chain-of-command 25; technical rehearsal 242; touring show 301; working relationship 119
general manager: chain-of-command 19; working relationship 100
George Izinour lightboard 234
go cue 224
group email list 67
hair department: chain-of-command 25; rehearsal hall transition 197; technical rehearsal 255; working relationship 118
half-hour call: cueing script 218–19; opening performance 267; performance site 119
hand cues 226
hard copy: actor/character list 59–60; address lists 65, 66, 67, 144, 145; character/actor list 59–60; colored forms 61; contact sheet 67, 145; daily report 70, 73; dressing room assignment 88, 90; forms 55, 61; group email list 67; letterhead design 54–5; lists 81–5; performance running-time chart 91–2; performance sign-in sheet 63, 64; personal experience 55, 56, 61, 63, 65, 67, 69, 73, 74, 83, 93; personal floor plan 73–81; pre-production time 146; professional interviews 54; rehearsal sign-in sheet 60–63; revisions 93; running orders 90–91; scene/character tracking chart 55–9, 60, 61; schedules 67–70, 71, 72; show report 92–3; show rundown list 90; sound department 85–8, 89
Hart, Moss 22
head carpenter: chain-of-command 24; rehearsal hall transition 198; working relationship 114
head electrician 115
head of wardrobe 117
Holland, Bill 3, 8, 15, 37, 38
horizontal stage division 174, 175, 176
house crew: chain-of-command 25; touring show 299; working relationship 118
house left 172
house manager 119
house right 172
idler wheel 232
industry phone number list 81
intelligent lighting 229, 233–35
International Alliance of Theatrical Stage Employees (IATSE) 4, 25, 112, 116, 117, 248
international tour 289
janitorial staff 25
job contract 34
job interview 31–3; attire 32–3; company information 33; controlling of 32; desperation 32; first impressions 32; gut feelings 31–2; informal conversation 33; outcome of 32, 33; tattoos 33
job resume 28–31; Actor’s Equity Association (AEA) 31; contact information 31; credits 30; dates 30; hobbies 31; layout 28, 30; one-page resume 30; personal experience 30; presentation 28, 29; references 30–31; repetitive credits 30; secondary credits 30; supplementary experience 30
Kidd, Michael 22
knifed-in 231
labor unions. see Actor’s Equity Association (AEA); International Alliance of Theatrical Stage Employees (IATSE)
Lapine, James 22
lateness: opening performance 266, 269; red box 63, 159, 266; rehearsal 159, 161, 166; touring show 297. see also time factor
Laurents, Arthur 22
LED screen 235
LED tape 235
Lekolite 233
libretto 205
lightboard 234
light emitting diode (LED) lights 229, 233, 234
lighting: blue work lights 254; color lighting system 233, 234–35; cueing script 206, 212; CYM color system 233, 234–35; dimmer board 234; dimmer rack 234; diodes 229; DMX (data matrix) cable 234; George Izinour lightboard 234; gobo 230, 235; halogen lamp 233, 234–35; intelligent lighting 229, 233–35; laser lights 229–30; LED screen 235; LED tape 235; lightboard 234; light cue count 212; light emitting diode (LED) 229, 233, 234; lighting console 234; lumen 235; luminaire 236; luminous flux 236; moving lights 229, 233–35, 237, 301; rehearsal hall transition 195–96; resistance dimmer board 234; RGBW color system 234; Source Four lighting 233–34; technological advancements 229–30, 233–36; three-colored prismatic lenses 234–35; touring show 301, 308–11; vari-lite 233; xenon lamp 233, 234–35. see also electrical department; spotlight operator
lighting console 234
lists: address lists 65, 66, 67, 144, 145, 314–15; correct-spelling-of-names list 81–2, 160; dressing room assignment 88, 90; email 65, 67, 144; industry phone numbers 81; prop list 82–5, 152–53, 192–93; running orders 90–91; schedule reminder list 81; show rundown 90; sound lists 85–8, 89
load-in 114
load-out 114
local actors 302
local crew 299
Logan, Joshua 21
Luhrmann, Baz 22
lumen 235
luminaire 236
luminous flux 236
lyricist: chain-of-command 21; working relationship 102
makeup department: chain-of-command 25; technical rehearsal 255
Marshall, Kathleen 22
material safety data sheet (MSDS) 236
matinee performance: run of the show 281; sign-in sheet 63
measurements, personal floor plan 78
media coverage: show reviews 272; technical rehearsal 259
Meisner, Sandy 3
Microsoft Word 54
Moore, James 22
moving lights 229, 233–35, 237, 301
musical director: chain-of-command 22; working relationship 104–5
musicals: American Federation of Musicians 23; arrangers 22, 105; auditions 125–26, 128, 133, 134; backdrops/sliders/curtains 152; blocking script 170; cattle call 125; chain-of-command 17, 21, 22–3; choreographer 23, 105–6, 120–21; complexity of 5; composer 21, 102; conductor 22; copyist 23, 105; cueing script 205; daily rehearsal schedule 70, 72; dance arranger 23, 105; dance audition 126, 128, 133; dance/blocking numbers 152, 245–46, 300–301; dance captain 23, 106; dance mirrors 133; libretto 205; lyricist 21, 102; opening performance 268–69; orchestra 255–57, 259–60; orchestra arranger 23, 105; piano tuning 259–60; preproduction time 147, 148, 150; rehearsal 157, 162; rehearsal hall setup 150, 152; rehearsal hall transition 197–98; rehearsal pianist 22, 104–5; rehearsal script 169–70; run of the show 280, 284–85; scene/character tracking chart 56; singing audition 125–26, 134; sitzprobe 256; swing dancer 106; technical rehearsal 241, 245–46, 255–57, 259–60; touring show 300–301, 304–7; vocal arranger 22, 105; working relationships 102, 104–6
national tour 289
networking for employment 28
night vision strategy 225
no-smoking sign 130
office carrying bag: contents 44–8; for auditions 128
open call 125
opening performance: acknowledgements 269–70; backstage public address system 266–69; congratulatory items 266; cueing script revision 265; curtain bow 265–66; curtain call 270; disaster openings 263–64; encore bow 265, 266; event atmosphere 263; fifteen-minute call 267–68; five-minute call 268; half-hour call 267; lateness 266, 269; musicals 268–69; professional experience 270–71; stage manager authority 264–65; star performer 269; start-time delays 268–69; timing 266, 267–69
orchestrations 23
out-of-town tryout 289
paperback script 148
paper tech 197
Pasadena Playhouse 3
performance-preset prop list 193
performance running-time chart 91–2
performance sign-in sheet: days off 63–4; matinee performance 63; personal experience 63, 65; sample template 64
performance site: chain-of-command 18, 25; doorman 25; dressers 25, 117; fire marshal 18, 25; front-of-the-house staff 25, 119; half-hour call 119; house crew 25, 118; house manager 119; janitorial staff 25; personnel relationship 118–19; touring show 299–302
performing artists: chain-of-command 18, 23–4; days off 281; feeding lines 285; replacement performers 285; run of the show 277–78, 279, 281, 285; standby performers 285; touring show 292, 295, 297–98, 300, 302, 303–4; valuables 257–58, 266; working relationship 106–8, 249, 250–51. see also auditions; technical rehearsal
personal belief system 95–6, 120
personal blocking 171
personal financial planning 34–5
personal floor plan 73–81; archival heading 77; AutoCAD examples 74, 75, 79; blueprints 73; elevation drawings 73; examples 75, 77, 79, 80; measurement figures 78; measurement scale 78; noting acts/scenes 77; personal experience 74; pre-production time 146; rehearsal script 187; scenic drawings 73–4
petty cash fund 21
pin rail 24
point cues 210
portable office: assistant stage manager 42, 44; defined 41; electronic carrying case 41–3; office carrying bag 44–8; personal experience 43, 44; production notebook 44–5, 274–77; professional experience 52–3; stage manager console 51–2; storage box 48–51
power position 98
pranks 315
pre-production time: actor/character list 146; Actor’s Equity Association (AEA) 142, 145, 153; address lists 144, 145; block calendar 141–43; cast business 144–45; character/actor list 146; charts/plots/lists 140–41, 146; contact sheet 145; costume shop coordination 142; director information 142; editing scripts 148; electronic script 147; first-contact email 144; first-day business 141; hard-copy work 146; information packet 146–47; information revision 147; musicals 147, 148, 150; paperback script 148; personal experience 140, 142, 144, 146, 147, 149; personal floor plan 146; production meeting 143–44; production office 141; production office information 141–42; professional experience 154–55; publicity department communication 142; publisher script 148; rehearsal hall setup 149–54; rented script list 148; script copies 148–49; script distribution 148; script familiarity 140; script generation 147–49; set familiarity 140; social security numbers 145; staff information 142; video chat communication 143–44; webcam communication 143–44
preset 218
Prince, Harold 22
producer: chain-of-command 19; rehearsal entrance 160; technical rehearsal 245, 250; touring show 292; working relationship 98–100, 250
production assistant: chain-of-command 23; working relationship 101
production executives: associate producer 19, 100; board of trustees 19; chain-of-command 17, 18–20; company manager 20, 100–101; executive producer 19, 100; founder 18–10, 100; general manager 19, 100; producer 19, 100; production manager 19–20, 100
production manager: chain-of-command 19–20; pre-production time 143–44; working relationship 100
production meeting: pre-production time 143–44; rehearsal 167–68
production notebook: contents 44–5; run of the show 274–77; show closure 313–15
production office staff: accounting department 21; casting director 20, 101; chain-of-command 17, 20–21; executive assistant 20; pre-production time 141–42; publicity department 20–21, 101; working relationship 101–2
production staff: American Federation of Musicians 23; arrangers 22, 105; assistant director 22, 104; assistant stage manager 23; chain-of-command 18, 21–3; choreographer 23; conductor 22; copyist 23, 105; dance arranger 23, 105; dance captain 23, 106; director 21–2, 102–4; musical director 22, 104–5; orchestra arranger 23, 105; production assistant 23, 101; rehearsal hall setup 151; rehearsal pianist 22, 104–5; stage manager 23; vocal arranger 22, 105
production stage manager 5
professional experience: auditions 137–39; case study 317–32; cueing script 227–28; employment 35–7; of author 6–8; opening performance 270–71; portable office 52–3; preproduction time 154–55; run of the show 286–88; show closure 316; technical rehearsal 260–62; touring show 304–11
projection department: chain-of-command 25; cueing script 206; DLP digital projector 237; rehearsal hall transition 196; technological advancements 230, 232, 237; working relationship 115–16
prompt script. see cueing script
prop list 82–5; chain-of-command 25; example 84; performance-preset prop list 193; personal experience 83; personal props 83, 85, 315; red-flag prop 192–93; rehearsal hall setup 152–53; working prop list 83, 84
prop master 115
publicity department: chain-of-command 20–21; pre-production time 142; working relationship 101
publisher script 148
quick-turn-page cue 224
rail: cueing script 207, 212; technical department 24
reading scenes with performers 134–35
regional tour 290
rehearsal: Actor’s Equity Association (AEA) 156–57, 158–59, 161, 162, 164, 166; cast arrival 158–59; cast breaks 161; cell phones 159; checklist 168; correct-spelling-of-names list 160; costume measurements 160; daily schedule 70, 71, 72, 164–65; day’s end 166–67; director breaks 161; director entrance 160; director working relationship 162–64, 166; Equity deputy 156–57; Equity hour attendance 158–59; Equity hour business 158; Equity Rulebook 166; first-day experience 156; first-day setup 156–58; lateness 159, 161, 166; midday meal break 162; musicals 157, 162; personal experience 157, 159, 161, 168; post-midday break 162; producer entrance 160; production meeting 167–68; professional interviews 168; rehearsal clock 158; rented script list 159–60; run of the show 281–85; signage 158; social amenities 157; stage manager notepad 164; stage manager workspace 157–58; star performer entrance 160, 166; table read 157, 160–61; timing 161–62; welcoming speech 159–60
rehearsal clock 158
rehearsal hall setup: callboard 153; checklist 149–50, 153–54; musicals 150, 152; pre-production time 149–54; production staff table 151; prop list 152–53; taping floor plans 150–52
rehearsal hall transition: Actor’s Equity Association (AEA) 202; assistant stage manager 198–99; cast preparation 201–3; closeout 203; costumes/wardrobe 197; cueing script 196, 199; designers 198; hair department 197; head carpenter 198; lighting 195–96; meetings 195–98; musicals 197–98; paper tech 197; personal experience 196, 202; projection department 196; run-through 199–200; set/scenery changes 196–97; sound cues 197; spotlight cues 196; stage manager micromanagement 198; supplementary rehearsal space 203; technical director 198; work shift 195
rehearsal pianist: chain-of-command 22; working relationship 104–5
rehearsal script: calling lines 191; calling technical cues 191–92; costumes 169; electronic script 187, 190; example 188; following script 191; hard copy 190; information gathering 169; musicals 169–70; organization of 187, 190; personal floor plan 187; prop list 192–93; publisher notes 187; revisions 187, 190; set design 169; tabbing scenes 187; technical effects 187; timing 192. see also blocking script
rehearsal sign-in sheet 60–63; archival heading 60; contents 61–3; days off 63; personal experience 61, 63; red box 63; sample template 62
rented script list: pre-production time 148; rehearsal 159–60
replacement performers 285
reputation for employment 31
resistance dimmer board 234
reviews of show 272
revisions: blocking script 280–81; cueing script 252, 260, 265; notations for 93, 147, 190; rehearsal script 187, 190
RGBW color system 234
road show 291
Robbins, Jerome 21
run of the show: Actor’s Equity Association (AEA) 272, 281; assistant stage manager 279–81; blocking script revision 280–81; company manager role 272–73; cueing script 272; days off 281; feeding lines 285; friendships 285–86; frozen designation 272, 280; matinees 281; musicals 280, 284–85; new shows 272; performer notes 277–78, 279; personal experience 281; production notebook 274–77; professional experience 286–88; rehearsal 281–85; replacement performers 285; reviews 272; stage manager duties 273–74; standby performers 285; star performer notes 278–79; ticket sales 272; understudy 282, 283–85, 287–88; video recording 281
scene/character tracking chart: abbreviation 55; archival heading 56, 57; character’s names 55–6; creation of 55–9; French scenes 58; musicals 56; personal experience 55; refinement of 56, 57; scene breakdown 57; tagging a scene 58–9, 60, 61
scenery plot 254
schedules: block calendar 67, 68, 69; daily rehearsal schedule 70, 71, 164–65; musicals 70, 72; schedule reminder list 81; technical rehearsal 247–48; touring show 295, 296
scripts: auditions 127; paperback script 148; pre-production time 140, 147–49; publisher script 148; reading scenes with performers 134–35; rented script list 148; stage manager familiarity 127, 140. see also blocking script; cueing script; rehearsal script
self-care 94
Sher, Bartlet 22
shops and vendors: chain-of-command 18, 25; working relationship 118
show monitor 222
show report: description of 92–3; technical rehearsal 258–59
show rundown list 90
show rundown sheet 253
show sound monitor 222
sight lines 254
signage: auditions 129–30; cell phones 130, 131; no-smoking 130; rehearsal 158; technical rehearsal 244
sitzprobe 256
social security numbers 145
sound department: acknowledgements to 88; assisted listening system 233; body mic tracking chart 88; cueing script 207; lavaliere microphone 232–33; rehearsal hall transition 197; sound cues list 88, 89; sound designer 85, 116–17; sound plot list 85, 86; sound requirements list 85, 87, 88; sound technicians 25, 85; technical head 116–17; technological advancements 231, 232–33, 238
sound requirements list 85, 87, 88
special designers 18
spike marks: technical rehearsal 252; touring show 300–301
spiritual self 96
split-week tour 290
spotlight operator: cueing script 207, 213–14, 224; description of 116; rehearsal hall transition 196; touring show 301, 308–9; vari-lite 233
stage left 172
stage manager: abbreviations 5; author’s professional experience 6–8; chain-of-command 23; historical context 5–6; most important aspect 4–5; personal experience 2, 4; professional defined 4; professional distinction 4; professional gap 1; professional interviews 8; professional learning 1; psychological perspective 1–2; research overview 2–4; titles 5; touring show 291–93, 294, 295, 297, 299–302, 303; women as 5
stage manager console: cueing script 221–23, 226; portable office 51–2; technical rehearsal 241, 253
stage manager qualities: control 13; ego 13–14; leadership 11–13; neatness 13; perfection 13; personal experience 13; personal qualities 9–12; practical application of 9; professional interviews 10, 12, 15–16; show business glamor 14; spirit 12–14
stage right 172
standby performers 285
star performer: auditions 126; opening performance 269; rehearsal entrance 160, 166; run of the show 278–79; understudy 282, 283–85, 287–88; working relationship 108–9, 121
Stillings, Cynthia R. 144
Stroman, Susan 22
summer stock 290
swing dancer 106
tabbing scenes: cueing script 205; rehearsal script 187
taping: glow tape 245–46; LED tape 235; rehearsal hall setup 150–52; touring show 300–301; white tape 245–46
tattoos 33
technical director: chain-of-command 24; rehearsal hall transition 198; working relationship 114, 122–23
technical rehearsal: Actor’s Equity Association (AEA) 239, 244, 255, 259; assistant stage manager 239; audience orientation 242; blue work lights 254; callboard 244; conflict resolution 246, 247; costumes/wardrobe 243, 252, 255; crew relationship 251; cueing script 254; cueing script revision 252, 260; dance/blocking numbers 245–46; director entrance 245; director notes 258; director relationship 249–50; dressing room assignment 242–44; dressing room nameplates 243; dress parade 255; dry tech 254; final phase 257–58, 260; fire marshal entrance 257; first phase 240–45; fly plot 254; front-of-the-house staff 242; front-ofthe-house tour 242; glow tape application 245–46; gray responsibilities 246, 257, 260; hair department 255; makeup department 255; media coverage 259; musicals 241, 245–46, 255–57, 259–60; nature of 240; orchestra 255–57, 259–60; performance site tour 241–42; performer entrance 245, 252–53; performer interview 259; performer photo call 259; performer relationship 249, 250–51; performer valuables 257–58; performer work schedule 239; personal experience 243, 250, 252, 260; piano tuning 259–60; producer entrance 245; producer relationship 250; professional experience 260–62; professional interviews 262; scenery plot 254; second phase 245–46; show report 258–59; show rundown sheet 253; sight lines 254; signage 244; spike marks 252; stagehand labor union 248; stage manager console 241, 253; stage manager entrance 240; stage manager office 242; stage manager work schedule 239–46, 251; ten-out-of-twelve rule 239–40; timing 246, 253, 258–59; touring show 299; turn-around clause 239; typical daily schedule 247–48; white tape application 245–46; working relationships 246, 247, 248–51, 260
technical staff: automation department 24, 114; chain-of-command 18, 24–5; child wrangler 25, 110–11; costumes/wardrobe 25, 117–18; electrical department 25, 115–16, 123; flymen 24, 114–15; hair department 25, 118; head carpenter 24, 114; makeup 25; projection department 25, 115–16; props 25, 115; railmen 24, 114–15; sound department 25; stagehand labor union 25, 116, 117; technical director 24, 114, 122–23
technological advancements: Actor’s Equity Association (AEA) 236; aluminum trusses 236–37; assisted listening system 233; automation department 230, 231–32, 237–38; color lighting system 233, 234–35; cylindrical wheels 231–32; CYM color system 233, 234–35; designers 232; dimmer board 234; dimmer rack 234; diodes 229; DLP digital projector 237; DMX (data matrix) cable 234; dogged-in 231; dry ice machine 236; fog machine 236; George Izinour lightboard 234; gobo 230, 235; halogen lamp 233, 234–35; haze unit 230, 236; idler wheel 232; intelligent lighting 229, 233–35; knifed-in 231; laser lights 229–30; lavaliere microphone 232–33; LED screen 235; LED tape 235; lightboard 234; light emitting diode (LED) lights 229, 233, 234; lighting console 234; lighting department 229–30, 233–36; low-profile casters 231–32; lumen 235; luminaire 236; luminous flux 236; material safety data sheet (MSDS) 236; moving lights 229, 233–35, 237, 301; pallets 231–32; personal experience 231, 238; pizza cutter 231, 232; projection department 230, 232, 237; resistance dimmer board 234; RGBW color system 234; sliders 24, 152, 207, 232; smoke machine 230, 236, 237; sound department 231, 232–33, 238; Source Four lighting 233–34; three-colored prismatic lenses 234–35; vari-lite 233; wagons 231–32; winch 232; wire rope 231; working terminology 237–38; xenon lamp 233, 234–35
Teeter, Lara 3, 15, 16, 37, 38
Tharp, Twyla 22
three-colored prismatic lenses 234–35
ticket sales 272
time factor: auditions 135; fifteen-minute call 267–68; five-count call 212; five-minute call 268; half-hour call 119, 218–19, 267; lateness 63, 159, 161, 166; opening performance 266, 267–69; rehearsal 161–62; start-time delays 268–69; technical rehearsal 246, 253, 258–59; touring show 292, 295, 296, 297. see also lateness
titles for stage manager 5
touring show: Actor’s Equity Association (AEA) 291, 292; assistant stage manager 300, 301; automation department 300–301; baggage handling 297–98; buddy system 295, 297; busand-truck tour 290; callboard 299; close-out phase 292–94; company manager role 291, 293–94; front-ofthe-house staff 301; house crew 299; independent travelers 297; international tour 289; lateness 297; lighting 301, 308–11; living accommodations 298; living together 302–3; local actors 302; local crew 299; magic show tour 307–11; musicals 300–301, 304–7; national tour 289; new-venue phase 298–300; one-night stand 290–91; out-of-town tryout 289; packing 293–94; performance site 299–302; performing artists 292, 295, 297–98, 300, 302, 303–4; pre-Broadway run 289–90; producer role 292; professional experience 304–11; professionalism 303–4; regional tour 290; road crew 291, 299; road show 291; schedule 295, 296; spike marks 300–301; split-week tour 290; spotlight operator 301, 308–9; stage manager role 291–93, 294, 295, 297, 299–302, 303; summer stock 290; technical rehearsal 299; time factor 292, 295, 296, 297; touring manager role 291, 293–94; travel information sheet 295; traveling phase 294–97; types of 289–91
trainers 18
traveler tracks 24
Tune, Tommy 22
turn-around clause 239
turntable 207
understudy 282, 283–85, 287–88
unemployment insurance benefits 35
up stage 174
vari-lite 233
Vectorworks 54
vendors. see shops and vendors
Verhoff, Hethyr 40
vertical stage division 174, 175, 176, 177
video chat communication 143–44
video recording of show 281
Wheeldon, Christopher 22
wire rope 231
women 5
word-of-mouth employment 31
working relationships: Actor’s Equity Association (AEA) 99, 111; anger 96; assistant director 104; associate producer 100; author 102; automation department 114; boundaries and expectations 98; casting director 101; child performers 109–11, 121–22; choreographer 105–6, 120–21; company manager 100–101; composer 102; conflict resolution 97–8; control and perfection 97; costumes/wardrobe 117–18; designers 111; director 102–4, 162–64, 166, 249–50; ego 96–7; electrical department 115–16, 123; executive producer 100; fear 96; founder 100; general manager 100; hair department 118; head carpenter 114; head flyman 114–15; head of the rail 114–15; listening skills 97–8; lyricist 102; musical director 104–5; musicals 102, 104–6; performance site personnel 118–19; performing artists 106–8, 249, 250–51; personal belief system 95–6, 120; personal experience 97, 98, 99, 109, 112, 113, 116, 117, 119–23; power position 98; producer 98–100, 250; production assistant 101; production manager 100; production office staff 101–2; projection department 115–16; prop master 115; publicity department 101; saving face 97, 113–14; self-analysis 94–5; self-care 94; shops and vendors 118; spiritual self 96; stagehand labor union 112, 116, 117; star performer 108–9, 121; technical director 114, 122–23; technical rehearsal 246, 247, 248–51, 260; technicians 111–14; “you” versus “I” dialogue 97
writers 21