Beruflich Dokumente
Kultur Dokumente
Stage
Management
Handbook
This
packet
gives
a
general
overview
of
the
duties
required
of
a
stage
manager
to
be
used
as
a
reference
guide
for
those
wishing
to
work
as
stage
managers
in
the
Juneau
arts
community.
1
DUTIES
BEFORE
REHEARSALS
START
Before
rehearsals
even
begin
there
are
several
things
that
the
stage
manager
should
do
in
order
to
prepare
for
both
the
rehearsal
process
and
run
of
the
show.
Right
off
the
bat
a
stage
manager
should
plan
to
get
in
contact
with
the
producer
of
the
show,
the
director
of
the
show,
the
performers,
key
people
for
any
of
the
spaces
that
will
be
used
for
rehearsals
and/or
performances,
and
any
designers
or
technicians
who
have
been
hired
at
the
time.
Business
with
the
Producer
–
this
is
person
in
the
organization
who
hired
or
asked
you
to
be
the
stage
manager
for
the
production
you
will
be
working
on.
• Who
does
what:
Check
to
see
what
the
producing
organization
requires
of
you.
It’s
always
good
to
know
exactly
what
is
expected
of
you
so
that
everyone
starts
out
on
the
same
page.
Some
examples
are:
o Collecting
employment
paperwork
from
actors/dancers/singers
o Collecting
contact
information,
rehearsal
conflicts
and
other
pertinent
info
from
actors/dancers/singers
o Collecting
program
information
such
as
bios
from
performers
and
crew
o To
act
as
a
go-‐between
for
cast/crew
and
the
producing
organization
o To
act
as
key
keeper
and
enforcer
of
rehearsal
and
performance
space
rules
• Scripts:
Get
the
script/music/etc.
that
will
be
utilized
for
the
production
from
the
producing
organization.
You
will
need
this
first
thing
to
start
putting
together
your
prompt
book.
• Contact
&
Conflict
Info:
If
they
won’t
have
you
helping
to
get
this
information,
get
the
names
of
the
performers
and
what
roles
they
are
playing,
find
out
who
will
need
a
script/music/etc.
and
any
contact
or
conflict
info
that
they
may
have.
• Rehearsal
Calendar:
Get
a
copy
of
the
basic
rehearsal
and
performance
calendar
or
at
the
very
least,
the
dates
for
rehearsals
and
performances.
The
detailed
rehearsal
schedules
will
be
built
from
this
information.
• Contractual
Obligations:
If
the
producing
organization
utilizes
any
sort
of
contract
with
any
of
the
performers
be
sure
to
get
a
copy
of
any
of
the
language
that
you
might
need
when
scheduling
rehearsal
hours,
calling
break
times
or
anything
else
that
has
been
agreed
to
by
the
producing
organization
that
you
might
be
in
charge
of
keeping
to
or
enforcing.
An
example
would
be
an
equity
actor
contract.
• Production
Meetings:
You
will
need
to
talk
to
the
producer
to
find
out
who
will
be
in
charge
of
scheduling
and
running
production
meetings.
This
typically
is
the
job
of
the
stage
manager,
but
some
organizations
have
someone
else
in
charge
of
arranging
and
running
these,
and
some
groups
doen’t
have
production
meetings
at
all.
The
first
production
meeting
should
usually
happen
one
to
two
weeks
before
rehearsals
begin
or
no
later
than
the
first
week
of
rehearsals.
You
should
also
decide
whether
you
or
producing
organization
will
be
responsible
for
creating
an
agenda
and
taking
notes
during
the
meeting
and
e-‐mailing
them
to
the
production
staff.
Business
with
the
Director
• First
Rehearsal:
Find
out
from
the
director
what
he
or
she
would
like
to
do
during
the
first
rehearsal,
as
every
director
is
a
little
different.
If
the
producing
company
wishes
you
to
distribute
any
information,
scripts
or
paperwork,
it
is
usually
done
at
this
first
rehearsal
as
well.
Making
a
plan
with
your
director
ahead
of
time
will
make
this
first
rehearsal
go
much
smoother.
2
• Rehearsal
Space:
Go
over
how
the
director
would
like
the
rehearsal
space
set
up.
Find
out
whether
the
director
would
like
a
chair
with
a
table
to
sit
at,
or
a
music
stand
for
their
script,
where
actors
should
put
their
things,
where
rehearsal
props
and
costume
should
be
stored,
and
any
other
space
specifications
they
might
have.
You
might
be
asked
to
“tape
out”
the
rehearsal
space
with
dimensions
of
the
set
elements
or
the
stage
width
and
depth
–
checking
in
with
the
director
about
fitting
this
in
the
rehearsal
space
is
always
good.
• Expectations:
Find
out
how
the
director
would
like
rehearsals
run
–
as
a
stage
manager
it
is
your
job
to
run
the
room
so
to
speak.
How
does
the
director
want
breaks
announced?
Does
the
director
want
all
cell
phones
off
or
turned
in
during
the
rehearsal?
Does
the
director
want
you
to
give
them
time
checks
to
keep
on
schedule?
For
scripted
shows,
how
would
the
director
like
to
handle
actors
getting
off
book
and
calling
for
lines?
How
will
the
two
of
you
handle
people
who
show
up
late?
The
more
you
clarify
with
each
other
ahead
of
time
about
expectations,
the
better
for
everyone.
• Rehearsal
goals:
It
is
a
good
idea
work
with
the
director
to
schedule
time
to
sit
down
with
you
before
or
after
rehearsals
each
day/night
to
help
plan
future
rehearsals
or
get
on
the
same
page
as
far
as
goals
for
the
coming
rehearsals.
Be
on
the
look-‐out
for
anything
else
that
might
prepare
you
to
run
rehearsals
according
to
your
director’s
expectations.
• Schedule:
If
possible,
it
is
good
to
try
and
find
out
the
first
week’s
rehearsal
schedule
with
who
is
called
when
and
have
a
printed
copy
ready
to
pass
out
to
the
cast
for
their
first
rehearsal.
Not
every
director
will
be
willing
to
plan
this
far
in
advance,
but
it
helps
the
first
week
run
more
smoothly
if
everyone
knows
what
is
expected
of
them
from
the
beginning.
If
possible,
continue
to
do
this
with
the
director
for
each
week
of
rehearsal.
• Scheduling
considerations:
For
scheduling
in
general,
be
sure
to
take
everyone’s
conflicts
into
account,
what
their
cut
off
number
of
hours
for
rehearsals
is,
and
the
availability
of
the
rehearsal
space.
It
is
typically
the
stage
managers
job
to
keep
track
of
this
for
the
director
when
the
rehearsal
schedules
are
being
generated.
• Scene
Breakdown:
Decide
with
the
director
how
the
show
is
going
to
be
broken
down
for
rehearsing
purposes.
There
are
a
lot
of
different
ways
that
this
can
be
done,
and
each
director
will
have
their
preference.
This
usually
then
gets
put
into
a
scene
breakdown
which
lists
which
actor
is
in
which
scene
and
with
double
casting,
what
role
they
are
playing
at
that
time.
This
tool
will
become
invaluable
when
creating
schedules
and
knowing
who
you
need
to
call
in
order
to
rehearse
a
scene.
Business
with
the
Actors
• Introductions:
You
should
get
in
touch
with
your
actors
before
the
first
rehearsal
to
introduce
yourself
and
let
them
know
the
time
and
place
of
the
first
rehearsal.
It
is
also
important
to
let
them
know
what
is
expected
of
them
for
the
first
rehearsal
and
the
rehearsal
process
in
general.
• How
to
reach
your
Actors:
You
should
also
get
contact
information
from
all
of
your
actors
if
the
procuring
organization
has
not
already
done
so.
Phone
numbers
for
both
work
and
home
are
good,
plus
e-‐mail.
This
ensures
that
you
have
a
way
to
get
in
touch
with
them
during
most
times
of
the
day
so
that
you
can
keep
them
informed
about
rehearsal
schedule
changes
or
call
them
if
they
are
late.
It
is
also
good
to
find
out
the
best
way
to
communicate
things
like
daily
rehearsal
schedules
to
actors.
Most
people
these
days
have
e-‐mail,
but
not
everyone
can
check
it
regularly
–
so
knowing
this
ahead
of
time
will
keep
you
from
making
any
communication
mistakes.
• Scheduling
Availability:
If
the
producing
organization
has
not
already
done
so,
you
should
gather
your
performer’s
dates
and
times
of
availability
along
with
any
rehearsal
or
performance
3
scheduling
conflicts
they
might
have.
This
will
allow
you
to
make
informed
scheduling
choices
in
the
future
with
your
director.
Usually
there
is
a
process
for
approving
of
conflicts
that
are
known
about
before
a
rehearsal
process
begins.
Once
the
conflicts
have
been
approved
it
is
expected
that
they
will
be
worked
around
in
scheduling,
but
it
is
also
expected
that
the
performer
will
be
available
for
all
other
rehearsal
times
baring
an
emergency
or
severe
illness.
• In
case
of
an
Emergency:
You
will
also
want
to
have
your
actors
fill
out
Emergency
Information
Cards
during
the
first
rehearsal.
It
is
important
to
know
whether
your
actors
have
any
medical
conditions.
Also,
it
is
useful
to
know
whether
actors
have
allergies,
especially
if
there
are
consumable
props
in
the
show,
or
if
the
rehearsal
or
performance
space
might
expose
them
to
allergens.
Business
with
rehearsal
space/performance
space
managers
–
this
will
be
anyone
you
will
be
in
contact
with
regarding
the
use
of
the
spaces
you
will
be
using.
• What
are
the
rules:
Once
you
have
found
out
who
this
is
from
the
producing
organization,
you
should
get
in
contact
with
them
regarding
any
rules
or
procedures
for
use
of
the
space,
and
if
possible
get
a
written
copy
to
have
in
your
prompt
book
for
reference.
Following
and
enforcing
the
rules
for
a
space
will
help
insure
that
the
organization
you
are
working
for
doesn’t
get
fined,
and
will
also
insure
that
the
space
will
be
available
for
your
use
again
in
the
future.
Rules
might
include:
o No
eating
or
drinking
in
certain
areas
o Drug
and
alcohol
policies
(especially
important
when
working
in
school
spaces)
o What
can
and
can’t
be
moved
around
in
the
space
o How
the
space
needs
to
be
left
each
day
o Who
to
contact
in
case
of
emergencies
or
other
building
related
issues
• Space
Schedule:
You
will
also
want
to
talk
to
the
space
manager
about
when
you
can
get
into
the
building
and
when
you
must
be
out
of
it.
This
will
help
you
with
scheduling.
If
for
example
you
need
to
be
out
of
a
building
by
10pm,
you
will
want
to
end
your
rehearsal
at
least
a
half
an
hour
before
that
time
to
ensure
that
everyone
is
packed
up
and
out
at
the
designated
time.
In
many
spaces,
going
over
your
designated
time
can
actually
cost
money
–
something
no
organization
likes
to
be
surprised
with.
• Space
Availability:
Find
out
what
the
schedule
of
availability
and
conflicts
for
the
space
are.
It
is
your
job
to
check
with
the
space
manager
and
make
sure
you
have
all
the
times
and
dates
that
the
space
is
and
is
not
available,
and
to
make
sure
that
the
director
is
aware
of
these
times
if
there
is
a
possibility
that
your
rehearsal
schedule
may
change.
You
will
also
want
to
work
out
with
your
producing
organization
who
will
be
in
charge
of
making
any
changes
to
the
rehearsal
space
reservations,
or
if
there
is
a
process
for
making
changes.
• Security:
You
should
also
find
out
who
is
in
charge
of
locking
up
the
space.
Some
places
will
give
you
a
key,
and
you
will
become
the
responsible
party.
Others
might
have
someone
in
charge
of
this
who
you
will
need
to
check
in
with
at
the
end
of
each
rehearsal.
• Where
everything
is:
If
possible,
it
is
also
helpful
to
meet
with
the
space
manager
before
the
rehearsals
begin
in
order
to
get
an
orientation
for
the
space
and
any
equipment
you
might
be
using.
You
will
want
their
help
to
familiarize
yourself
with
the
space
and
where
the
light
switches,
locks,
bathrooms
and
exits
are
and
where
things
are
kept
before
rehearsals
begin.
Stage
Manager
Paperwork
and
Business
• Contact
Sheet:
You
should
get
a
preliminary
contact
sheet
with
all
the
performer
names,
roles,
and
contact
info
from
the
producing
organization.
If
they
don’t
have
that
information
you
will
4
be
responsible
for
gathering
that
information
and
putting
together
a
contact
sheet.
The
stage
manager
is
typically
responsible
for
all
updates
to
the
contact
sheet.
The
contact
sheet
should
also
include
production
staff’s
names,
positions,
and
contact
info.
You
will
want
to
find
out
from
the
production
team
how
best
to
get
rehearsal
report
information
to
them.
This
contact
sheet
should
remain
confidential
and
only
be
distributed
to
the
people
producing
or
working
on
the
show.
• Prompt
Book:
Put
together
your
prompt
book
with
a
copy
of
the
script,
a
scene
breakdown
that
you
may
want
to
create
in
conjunction
with
the
director,
line
note
forms,
spaces
for
schedule
and
calendar
info,
production
meeting
info,
program
info,
paperwork,
production
lists
and
any
other
info
you
might
need
to
keep
the
rehearsal
and
performance
process
organized
and
on
track.
You
can
think
of
the
prompt
book
as
the
production’s
bible
–
anyone
who
picks
it
up
should
be
able
to
look
through
it
and
know
anything
they
might
need
to
know
about
the
show.
• “Taping
out”
the
rehearsal
space:
If
your
show
will
use
a
designed
set
or
a
specific
set
up
of
the
performing
space,
sometime
before
rehearsals
begin
or
during
the
first
week
of
rehearsals
you
should
acquire
a
ground
plan
of
the
set
for
reference
and
use
in
rehearsals.
Find
out
from
your
producing
organization
who
to
get
the
ground
plan
from
(typically
this
is
either
the
set
designer
or
the
technical
director).
• Props:
Sometime
before
the
rehearsals
begin
or
during
the
first
week
of
rehearsals,
you
should
plan
to
draft
a
preliminary
props
list.
You
can
use
this
list
to
compare
notes
with
your
props
person
if
there
is
one
for
the
production.
This
list
will
be
modified
once
rehearsals
begin
and
items
are
either
added
or
taken
away;
it
is
very
helpful
to
the
props
master
if
you
send
them
updated
copies
of
your
props
list,
so
that
they
are
clear
about
what’s
been
added
during
rehearsal.
You
should
also
get
in
contact
with
the
props
master
before
rehearsals
or
during
the
first
week
about
pulling
rehearsal
props
and
furniture
for
the
rehearsal
room.
• SM
Kit:
If
you
do
not
have
one
already,
you
should
plan
to
assemble
a
stage
manager’s
kit.
It
should
include
a
collection
of
little
items
that
you
might
need
during
the
rehearsal.
This
kit
should
include:
Pencil
sharpener,
pencils
(lots,
cast
members
will
burn
through
these
like
nothing
else),
erasers,
pens,
hole
punch,
post-‐it
notes
and
tabs
(a
stage
manager’s
best
friend),
stapler,
staples,
paper
clips,
binder
clips,
black
and
white
gaff
tape,
several
colors
of
spike
tape,
scotch
tape,
push
pins,
aspirin
or
Tylenol,
glasses
kit,
ruler,
scale
ruler.
You
may
also
want
to
include
basic
hand
tools
or
tape
measures.
5
DUTIES
DURING
REHEARSALS
In
general,
your
job
is
to
manage
all
the
administrative
and
logistical
details
of
the
rehearsal
and
production
process
so
that
the
Director
can
concentrate
on
the
artistic
details.
You
are
also
the
actors’
representative,
seeing
to
their
health
and
safety
throughout
the
process
and
remaining
sensitive
to
and,
if
necessary,
communicating
their
needs
to
the
Director
and/or
the
staff
of
the
producing
organization
as
they
arise.
Finally,
along
with
the
Director,
you
serve
as
the
production’s
liaison
to
the
designers
and
the
producing
organization’s
staff.
Scheduling
• Rehearsal
Schedules
-‐
You
will
need
to
continue
working
with
the
director
to
create
and
produce
rehearsal
schedules.
You
will
also
need
to
make
sure
that
those
schedules
do
not
conflict
with
the
schedule
of
the
rehearsal
space,
the
performers,
and
with
the
performers’
contractual
hour
limits,
if
any.
Communicating
to
your
performers
the
schedule
is
also
very
important.
Depending
on
how
the
director
likes
to
work,
this
could
be
something
decided
each
night
before
the
next
day’s
rehearsals
or
possibly
once
a
week.
Make
sure
you
know
how
best
to
contact
each
performer
and
get
the
schedule
to
them.
For
some,
e-‐mail
will
work,
but
for
others
a
direct
phone
call
will
be
what
is
needed.
• Production
Meetings
-‐
You
will
also
need
to
continue
to
work
with
your
producing
organization
to
make
sure
that
production
meetings
are
happening
when
they
need
to
happen
and
that
everyone
who
needs
to
be
there
is
there.
Production
meetings
should
happen
about
once
a
week.
They
are
the
one
time
when
every
department
gets
together
to
give
progress
reports,
discuss
problems
or
potential
problems,
and
pass
on
information
to
the
group.
Communication
is
KEY
to
the
success
of
any
production
and
some
things
require
all
the
collaborators
brains
in
order
to
come
up
with
good
solutions
to
the
things
that
might
come
up
during
the
course
of
rehearsals.
• Costumes
-‐
The
Stage
Manager
also
typically
acts
as
the
liaison
between
the
costumer
and
the
actors.
The
costumer
may,
throughout
the
rehearsal
process,
need
to
schedule
time
for
measurements,
fittings,
and/or
hair-‐cuts
with
the
performers.
Often
times
you
will
need
to
schedule
these
with
the
actors
in
conjunction
with
the
costumer.
• Special
Instructors
-‐
If
there
are
any
specialty
things
that
happen
during
the
show,
such
as
a
dance
number,
singing,
fighting
or
some
other
tricky
bit
of
business,
the
producing
organization
may
need
to
bring
in
an
expert
from
the
community
to
work
with
the
performers.
You
will
most
likely
be
in
charge
of
scheduling
rehearsals
with
that
person
and
the
involved
cast
members.
This
should
be
done
in
conjunction
with
the
director’s
needs,
and
of
course
the
schedules
of
everyone
involved.
Rehearsal
Duties
and
Paperwork
• Room
Prep:
As
stage
manager,
you
need
to
arrive
at
the
rehearsal
space
at
least
thirty
minutes
to
an
hour
before
rehearsal
to
set
up.
Rehearsal
furniture
should
be
set,
the
floor
should
be
swept
and
mopped
(if
necessary),
and
all
of
the
props
should
be
preset
for
the
beginning
of
that
rehearsal.
• Actor
attendance:
If
actors
are
late
to
rehearsal,
you
need
to
call
them.
If
tardiness
becomes
a
habit,
you
may
need
to
discuss
how
to
facilitate
getting
that
actor
to
rehearsal
on
time,
and
make
sure
that
the
producing
organization
is
made
aware
of
the
issue.
All
performers
should
be
told
to
get
in
touch
with
you
if
they
know
they
are
running
late
or
will
need
to
miss
rehearsal
due
to
some
unforeseen
delay
(ex:
sick
child,
car
troubles,
work
emergency,
etc.)
6
• Rehearsal
Reports:
During
rehearsals,
you
will
want
to
keep
detailed
rehearsal
reports.
If
you
have
a
laptop,
it
may
be
convenient
for
you
to
take
notes
in
rehearsal,
or
you
may
type
them
up
at
the
end
of
the
night.
You
should
keep
track
of
any
issues
or
items
that
come
up
in
rehearsal
that
the
other
members
of
the
production
staff
should
be
made
aware
of
(for
example,
props
that
are
being
added,
actor
business
that
might
affect
the
set,
sound
effects
that
the
director
is
considering,
lighting
needs
that
the
director
specifies,
etc.)
You
should
also
record
what
time
the
rehearsal
begins,
when
it
ends,
and
times
for
any
breaks
during
rehearsal.
You
will
want
to
include
what
was
accomplished
during
rehearsal,
whether
actors
arrive
late,
etc.
Keeping
track
of
the
scenes
covered
will
help
you
know
exactly
what
has
and
hasn’t
been
covered
in
rehearsal
and
how
many
times
it’s
been
covered,
which
will
help
you
create
subsequent
rehearsal
schedules.
The
notes
should
then
be
e-‐mailed
or
communicated
to
the
production
staff
and
your
producing
organization.
• Blocking
Notes:
In
rehearsals,
you
will
keep
track
of
the
blocking
that
the
director
sets
for
the
performers
in
your
script
and
update
changes
to
it
as
rehearsals
progress.
Blocking
is
the
term
used
for
the
movement
patters
of
the
performers
on
stage.
This
is
often
done
in
a
shorthand
that
each
Stage
Manager
develops
for
themselves.
Sometimes
Stage
Managers
will
also
use
shrunk
down
versions
of
the
ground
plan
to
help
mark
where
performers
and
furniture
are
at
any
given
moment
of
the
production.
• Tracking
stuff:
You
will
also
need
to
track
the
props,
costumes
and
any
other
elements
of
the
show.
You
will
want
to
make
sure
you
know
where
every
prop
or
costume
piece
starts,
where
it
goes
during
the
show,
and
where
it
ends
up.
This
is
especially
important
when
rehearsing
a
show
in
segments.
If
a
prop
goes
off
SL
but
needs
to
come
back
onto
the
stage
SR
–
it’s
important
for
the
director
to
know
that
information.
When
this
tracking
happens
in
rehearsals
and
problems
are
solved
in
rehearsals,
it
means
less
time
spent
in
tech
trying
to
figure
out
how
to
get
a
hat
from
of
side
of
the
stage
to
another.
• “On
Book”:
You
(or
an
assistant)
will
also
need
to
be
on
book
when
the
actors
go
off
book.
When
an
actor
forgets
a
line
and
calls
out
“line,”
it
is
your
job
to
supply
him
or
her
with
the
correct
line
from
the
script.
You
will
also
be
in
charge
of
keeping
line
notes
and
letting
the
actors
know
where
and
when
they
are
dropping
lines,
paraphrasing,
skipping
words,
or
adding
words.
You
should
discuss
with
the
director
whether
and
when
you
should
interrupt
rehearsal
for
line
corrections.
Any
other
corrections
should
be
noted
and
relayed
to
the
actor
after
rehearsal,
either
verbally
or
by
distributing
line
notes
.
• Tracking
Time:
You
will
need
to
keep
track
of
the
time,
call
breaks,
and
let
the
director
know
when
any
part
of
the
rehearsal
is
running
behind
schedule.
As
a
standard,
you
should
either
call
five
minute
breaks
for
every
fifty
five
minutes
of
rehearsal,
ten
minute
breaks
after
every
eighty
minutes
of
rehearsal,
or
a
combination
of
the
two.
If
you
have
any
actors
working
under
Equity
contracts,
then
you
will
need
to
be
strict
about
enforcing
these
break
times
(please
refer
to
the
Notes
About
Equity
that
appears
earlier
in
the
handbook.)
However,
even
non-‐equity
actors
need
time
to
mentally
and
physically
relax.
• Tracking
script
changes:
When
the
script
is
new
and
the
writer
will
be
providing
re-‐writes
throughout
the
rehearsal
process,
and
there
is
no
dramaturg,
then
it
is
your
job
to
keep
track
of
re-‐writes,
cuts,
and
changes,
and
make
sure
that
all
parties
who
need
them
get
them.
It
is
best
to
brainstorm
what
sort
of
system
will
be
best
for
the
production
with
both
the
Director
and
the
Playwright.
• Space
clean
up:
At
the
end
of
the
rehearsal,
you
may
need
to
clean
up
the
rehearsal
space
(if
you
are
sharing
the
space
with
other
groups
or
if
the
space
is
not
solely
used
for
rehearsals
.)
The
props
and
rehearsal
costumes
should
be
stored
away,
all
furniture
should
be
struck
to
one
7
side
of
the
room,
or
put
where
the
facility
manager
would
like
it
stored,
and
trash
should
be
picked
up
and
thrown
away.
If
you
are
using
a
space
that
does
not
belong
to
your
producing
organization,
it
becomes
very
important
to
check
in
with
the
facility
manager
on
what
condition
they
need
the
room
left
in
each
before
you
leave
and
also
if
valuables
such
as
music
player
or
expensive
props
can
be
safely
left
in
the
room.
• Rehearsal
Schedule:
You
should
plan
to
send
out
the
next
day’s
schedules
to
your
actors
after
every
rehearsal.
You
may
want
to
talk
to
your
actors
about
what
they
want,
but
the
more
places
you
can
leave
it
for
their
access
the
better.
Relationship
with
Actors
The
actors
should
feel
comfortable
with
you
and
should
trust
you
enough
to
come
to
you
with
any
concerns
that
they
have
during
rehearsals
and
the
show.
It
is
your
job
to
make
sure
that
any
concerns
that
they
have
with
the
design
elements,
fellow
actors,
health
problems,
safety,
etc.
are
heard
and
dealt
with.
They
should
also
feel
confident
that
you
will
know
or
can
find
out
what
has
happened
in
rehearsals
and
can
help
answer
questions
about
lines,
bits
of
stage
action,
etc.
Relationship
with
Director
You
are
the
director’s
right
hand
man
in
the
rehearsal
room.
You
work
with
the
director
to
set
up
rehearsal
schedules,
communicate
with
the
actors,
keep
track
of
all
the
director’s
ideas
in
your
prompt
book,
and
keeping
the
director
on
schedule
and
on
time.
When
a
Stage
Manager
is
doing
their
job
the
actors
and
director
are
able
to
concentrate
on
the
process
of
making
the
script
come
to
life,
trusting
and
knowing
that
the
Stage
Manager
will
be
paying
attention
and
tracking
the
practical
concerns
and
bring
them
up
when
necessary.
Relationship
with
Production
Staff
and
Designers
You
are
the
production
staff
and
designer’s
connection
to
what
is
happening
in
the
rehearsal
room.
This
link
is
vital.
Many
designers
and
artisans
don’t
get
to
many
rehearsals,
so
often
they
don’t
know
exactly
how
the
play
is
progressing
into
its
final
form.
As
stage
manager,
you
must
keep
the
information
flowing
so
that
the
work
being
done
on
the
set,
costumes,
props,
and
lighting
doesn’t
go
off
in
different
directions
from
where
things
are
going
in
the
rehearsal
room.
Production
meetings
and
rehearsal
reports
are
the
places
to
make
sure
that
the
communication
link
is
still
there
and
that
any
foreseeable
train
wrecks
are
avoided.
It’s
also
just
a
good
idea
to
check
in
with
the
various
production
departments
from
time
to
time
to
see
how
things
are
coming
and
find
out
if
there
are
any
questions
that
you
can
answer.
8
PREPPING
FOR
TECH
Technical
rehearsals
are
the
time
when
all
the
elements
of
a
production
are
put
together.
The
actors
get
onto
set,
the
lights,
sound,
costumes
and
final
props
are
added
in,
stage
crew
members
are
brought
into
the
process
and
everything
gets
rehearsed
before
the
show
is
run
in
front
of
an
audience.
It
is
the
time
for
artistic
decisions
to
be
finalized
and
formalized.
Finally
it
is
the
only
time
that
the
Stage
Manager
and
the
crew
get
to
rehearse
with
the
actors
the
actions
that
they
will
be
doing
during
the
performances.
There
are
several
things
that
a
Stage
Manager
can
do
to
help
make
sure
that
this
intense
time
goes
as
smoothly
as
it
can.
• Show
duties:
First
thing
an
SM
needs
to
do
to
prepare
for
Tech
is
to
find
out
from
your
producing
organization
if
you
as
the
Stage
Manager
will
be
calling
the
show
(telling
everyone
when
to
execute
the
cues),
calling
the
show
and
running
something
such
as
the
light
board,
sound
board,
or
running
the
show
from
backstage.
The
earlier
you
know
this
the
better
for
everyone.
This
knowledge
will
help
you
to
prepare
for
the
technical
rehearsals,
and
what
sorts
of
things
you
will
be
responsible
for
during
performance.
If
you
are
going
to
be
responsible
for
running
one
of
the
boards
make
sure
to
set
aside
some
time
to
learn
how
to
do
that.
This
is
usually
something
that
either
the
designers
can
do
or
the
facilities
manager.
• Crew
Needs:
As
rehearsals
progress,
you
will
begin
to
develop
a
good
idea
of
what
your
crew
needs
will
be
for
the
show.
Will
there
need
to
be
follow
spot
operators,
will
scenery
need
to
be
moved,
is
someone
needed
to
operate
the
sound
or
light
board,
are
there
complicated
props
that
require
someone
backstage
to
help
manage,
are
there
costume
quick
changes
that
the
performers
will
need
help
with,
etc.
Make
sure
that
the
producing
organization
knows
what
the
needs
are
and
that
arrangements
are
being
made
to
get
the
people
that
are
needed.
• Communication
with
your
crew:
If
the
show
will
be
performed
in
a
venue
such
as
JDHS
or
TMHS
auditorium,
Perseverance
Theatre,
or
centennial
hall,
you
will
need
to
make
sure
that
headsets
get
placed
where
they
are
needed
so
that
you
can
communicate
with
the
stage
crew.
If
the
venue
you
will
be
performing
in
doesn’t
have
headsets
or
some
other
means
of
communicating
with
your
crew
over
a
distance,
you
will
want
to
brainstorm
with
your
producing
organization
and
crew
some
alternate
methods
for
communication
and
cuing.
Or
crew
members
may
need
to
be
selected
for
their
ability
to
consistently
cue
themselves.
• Safety
backstage
-‐
Running
lights
need
to
be
checked
and
placed
in
all
the
appropriate
places
backstage.
These
are
the
dim
or
blue
lights
that
allow
performers
to
see
and
move
backstage
without
spilling
unwanted
light
onto
the
performing
space.
Additionally,
if
there
are
black-‐outs
or
if
there
are
particularly
dark
areas
backstage
where
actors
could
trip
(eg.
Stairs),
you
may
want
to
place
glow
tape
on
the
edges
of
set
pieces
or
other
obstacles
that
actors
might
run
into.
If
it
is
very
important
for
no
light
to
leak
onto
stage
during
any
blackouts
that
might
happen,
that
it
would
be
good
to
do
a
blackout
test
with
the
director
and
light
designer
once
all
the
run
lights
are
in
place
and
the
darkest
light
cue
has
been
determined.
Also
if
there
are
cables
or
other
trip
traps
in
any
of
the
backstage
areas,
making
sure
they
are
taped
down
or
run
in
such
a
way
that
will
help
actors
and
crew
stay
safe
is
also
important.
• Paper
Tech
-‐
If
you
anticipate
that
tech
will
involve
a
great
number
of
lighting
cues,
sound
cues,
or
other
effects
(such
as
flying
set
pieces
or
soft
goods,)
you
may
want
to
decide
with
the
director
and
designers
to
have
a
paper
tech.
This
involves
going
through
your
script
and
discussing
when
you
will
be
calling
specific
cues.
If
there
is
not
time
for
a
paper
tech,
you
may
want
to
request
that
designers
send
you
their
cue
sheets,
so
that
you
can
pencil
them
into
your
book
before
tech.
A
cue
sheet
had
the
cue
number/letter/signifier,
what
it
does
and
when
it
should
happen
in
the
script
or
action.
Be
prepared
for
these
to
shift
and
change
during
the
actual
tech
process.
9
• Expectations
-‐
You
should
plan
to
consult
with
your
director
about
his
or
her
expectations
of
the
tech.
You
may
want
to
create
a
breakdown
of
the
schedule,
including
what
you,
the
director,
and
the
designers
hope
to
accomplish
each
day,
whether
there
will
be
specific
moments
that
the
team
would
like
to
allot
an
extended
period
of
time
to
work,
and
when
the
team
would
like
to
have
a
run(s)
of
the
show.
Remember
that
the
tech
process
is
also
the
Stage
Manager’s
time
to
rehearse
how
to
call
the
show,
so
be
sure
to
speak
up
if
you
need
time
with
something
to
get
it
right.
• Costume
Parade
–
Some
directors
and
costume
designers
like
to
have
a
costume
parade
before
the
actors
start
using
their
costumes
in
tech.
A
costume
parade
is
where
all
the
actors
put
on
their
costume
pieces
and
come
out
together
(typically
on
the
stage
that
will
be
used)
in
order
for
the
director
and
costume
designer
to
see
all
of
the
costume
pieces
on
the
cast
all
at
once
and
talk
through
any
notes
or
things
that
might
need
to
change.
Talk
to
you
director
and
costume
designer
to
see
if
they
would
like
to
schedule
something
like
this.
• Spacing
rehearsals
–
Spacing
rehearsals
are
when
a
director
and
actors
can
work
on
the
actual
set
in
the
space
before
starting
the
tech
process.
This
is
a
good
thing
to
try
to
plan
if
you
have
a
very
complicated
set
or
have
been
rehearsing
in
a
space
that
is
completely
different
from
where
you
will
be
performing.
This
allows
the
actors
and
the
director
to
make
adjustment
to
the
blocking
or
how
lines
or
bits
of
stage
business
are
delivered.
For
example
a
gag
that
works
great
in
a
small
rehearsal
room
might
get
totally
lost
on
a
large
stage
such
as
JDHS,
and
need
to
be
reworked
for
the
larger
space.
It’s
worth
having
a
discussion
with
your
producing
organization,
director
and
the
facility
you
will
be
working
in
to
see
if
time,
schedule
and
money
allow
for
extra
time
in
the
space
for
spacing
rehearsals.
LOAD-‐IN
Load-‐in
is
the
term
used
for
the
time
that
is
needed
to
put
all
the
physical
elements
of
the
show
into
the
spaces
they
will
be
using
for
the
performances.
Since
most
groups
don’t
rehearse
their
performances
in
the
same
space
that
they
will
be
performing
in,
this
typically
means
getting
the
set
put
into
the
space,
getting
props
and
furniture
moved
over
and
make
sure
that
they
have
places
to
live
backstage
if
need
be,
getting
costumes
loaded
into
dressing
rooms,
sound
set
up,
lights
hung
and
focused
etc.
The
load
in
process
needs
to
be
completed
before
a
production
can
begin
the
Tech
process.
• Sets
–
Your
production
may
be
using
a
set
built
by
professionals,
build
by
volunteers
or
even
just
be
using
what
is
available
at
the
venue
you
are
performing
in,
but
no
matter
what
it
might
be,
time
needs
to
be
scheduled
with
the
facility
manager
to
get
the
set
put
into
place,
and
to
make
sure
that
it
conforms
with
the
safety
standards
of
the
space
being
used.
As
stage
manager
you
will
want
to
check
in
with
the
producing
organization
as
well
as
the
facilities
manager
about
how
much
time
might
be
needed
for
this
to
make
sure
that
tech
rehearsals
can
begin
on
time.
• Costumes
–
Some
spaces
such
as
the
High
Schools
or
Perseverance
Theatre
have
dedicated
dressing
rooms,
while
others
such
as
Centennial
Hall
or
McPheters
hall
may
have
multi-‐purpose
rooms
that
can
be
turned
into
dressing
rooms.
Find
out
what
your
venue
has
and
make
sure
to
work
with
your
producing
organization
and
the
facility
managers
to
work
out
what
might
be
needed.
Typically
a
men’s
and
women’s
private
changing
area
is
needed
with
ample
space
to
hang
their
costumes
neatly
and
at
least
one
mirror
so
that
actors
can
check
themselves
before
going
on
stage.
It’s
usually
good
to
make
sure
that
a
bathroom
is
close
to
the
dressing
area
as
well.
The
dressing
rooms
also
sometime
double
as
the
place
for
the
actors
to
hang
out
when
they
are
not
on
stage,
so
making
sure
there
is
enough
room
for
everyone
can
also
be
key.
10
• “Green
room”-‐
A
green
room
is
a
sort
of
break
room
or
place
that
actors
and
crew
can
be.
Not
all
theatre’s
have
a
green
room,
but
if
the
dressing
rooms
in
the
space
you
will
be
using
are
too
far
away
from
the
stage
for
them
to
be
a
viable
place
for
actors
to
be
while
waiting
for
their
next
cue
to
be
onstage,
it
may
be
good
to
work
with
the
producing
org
and
facility
manager
to
find
a
place
that
can
act
as
this.
• Props/furniture
–
Once
the
set
has
been
put
into
place,
it
is
typically
the
stage
manager’s
job
in
conjunction
with
the
props
designer/master
to
make
sure
that
the
props
for
the
show
are
brought
over
to
the
performance
venue.
Each
prop
that
originates
from
off
stage
will
need
to
have
a
home
for
it
to
live
at
the
top
of
the
show.
This
typically
is
some
sort
of
table,
and
it
is
usually
a
standard
practice
to
mark
out
and
label
spaces
for
each
prop
on
such
tables.
This
is
especially
helpful
once
the
show
is
running
to
be
able
to
do
a
quick
check
to
make
sure
everything
is
where
it
needs
to
be
before
the
show
starts.
The
furniture
you
will
need
to
place
with
the
director
and
set
designer.
It
will
be
important
to
be
able
to
mark
where
the
furniture
goes
on
the
set
so
that
if
it
is
bumped
or
moved
it
can
be
put
back
exactly
where
it
needs
to
go
each
time.
This
is
typically
done
with
spike
tape
on
floor
where
the
corners
of
the
furniture
should
go.
• Lights
–
You
will
want
to
check
with
the
producing
organization
and
the
facilities
manager
to
make
sure
that
there
is
a
plan
for
getting
the
lights
hung,
circuited
and
in
place
for
tech.
Some
groups
don’t
have
a
lighting
designer
and
might
be
asking
the
facility
to
provide
them
with
lights.
If
that
is
the
case
it
becomes
your
job
as
SM
to
talk
with
the
facilities
manager
about
the
lighting
needs
of
the
show
and
to
make
sure
that
you
have
a
clear
idea
from
the
director
about
what
is
needed.
Working
with
the
director
to
get
a
cue
list
to
the
facility
that
covers
each
light
cue
and
what
the
look
should
be
will
at
the
very
least
help
start
the
conversation.
Sometimes
a
facility
only
has
a
couple
of
lighting
looks
available
and
in
that
case,
knowing
what
is
available
beforehand
may
help
with
preplanning
before
getting
into
the
space
for
tech.
• Seating
–
Some
venues
come
with
permanent
seating
such
as
at
PT
or
the
high
schools,
other
with
seating
that
can
be
arrange
to
various
specs
such
at
the
JAHC
and
Centennial
Hall,
and
some
don’t
have
any
seating
at
all
and
your
producing
organization
will
need
to
make
arrangements
to
get
the
seating
set
up.
It’s
a
good
idea
to
work
with
your
producing
organization
to
make
sure
that
they
know
how
the
seating
will
be
set
up
and
have
communicated
that
to
everyone
on
the
team.
This
can
be
very
important
for
the
director
to
know,
especially
if
there
are
plans
to
have
actors
enter
from
areas
within
the
audience,
and
to
also
discuss
what
exits
need
to
remain
clear
for
emergencies
and
if
there
are
any
rules
about
egress
that
need
to
be
followed
in
the
building
you
are
working
in.
11
DURING
TECH
• Space
Prep:
With
the
stage
crew,
prep
the
stage
and
space
for
tech
each
day,
so
that
tech
can
start
on
time.
This
typically
means
that
the
Stage
Manager
and
Stage
Crew
will
show
up
at
least
half
an
hour
to
an
hour
before
the
performers
arrive.
Be
sure
to
allow
enough
time
to
get
the
stage
swept,
cleaned
up,
and
set
for
rehearsal,
including
making
sure
all
props
and
costumes
are
where
they
need
to
be
for
where
things
will
be
starting,
and
that
all
the
gear
is
in
place
and
ready
to
go.
• Sign
in:
By
tech
you
will
want
to
start
having
a
sign
in
sheet
for
your
actors
and
crew,
so
that
you
can
tell
at
a
glance
who
is
there.
You
don’t
want
to
have
to
go
chasing
around
a
building
to
see
if
someone
has
arrived
or
not.
Advise
the
actors
that
if
they
need
any
prep
time,
they
should
come
early
if
they
can
so
that
they
are
ready
to
start
when
rehearsal
begins.
• Location,
Location,
Location:
Typically
the
Stage
Manger
sits
near
the
director
and
other
designers
during
tech
to
work
out
with
them
where
to
put
the
cues
for
light,
sound,
fly
and
any
other
cues
in
relation
to
the
dialogue
or
actions
happening
on
stage.
Once
the
show
is
up
and
running,
the
director
and
designers
may
not
be
around.
It
is
the
Stage
Manager’s
job
to
make
sure
that
their
artistic
visions
are
carried
out
through
to
the
closing
performance.
Tech
is
the
time
to
really
get
clear
with
the
director
and
designers
how
the
show
should
flow
and
the
timing
of
all
of
the
cues.
• Prompt
Book:
Be
ready
to
put
the
technical
cues
into
your
prompt
book.
These
should
always
be
entered
with
pencil
as
they
often
will
shift
as
the
tech
rehearsals
progress
and
the
timing
of
things
get
tightened.
Some
people
like
to
use
repositionable
flags
color
coded
for
what
is
happening
so
that
they
can
be
easily
moved.
You
will
need
to
decide
for
yourself
what
works
best
for
you
as
a
stage
manager.
No
matter
what
you
will
want
to
enter
the
cues
as
clearly
as
possible,
with
the
idea
that
if
someone
needs
to
step
in
for
you
at
any
point
they
can
look
at
your
prompt
book
and
know
enough
to
run
the
show.
Some
Stage
Managers
like
to
have
a
separate
calling
script
and
a
blocking
notation
script
so
that
things
can
stay
neat.
You
may
want
to
consider
this
if
your
blocking
prompt
book
is
full
of
other
notations.
• Run
Crew
Sheets:
You
should
work
on
compiling
crew
cue
lists
or
run
sheets
(what
each
crew
member
is
responsible
for.)
You
may
want
to
begin
compiling
these
lists
during
rehearsals,
but
they
will
inevitably
change
during
tech.
Ideally,
you
will
want
to
update
crew
cue
lists
regularly,
particularly
if
they
include
cues
that
you
will
not
be
calling,
but
will
be
self-‐managed
by
the
crew
person.
Each
crew
member
will
then
be
given
their
specific
sheet
during
tech
and
will
work
with
you
to
let
you
know
any
changes
that
need
to
be
made.
A
run
sheet
should
be
made
clear
enough
that
anyone
could
step
into
the
position
and
with
minimal
training
and
help,
complete
the
tasks
assigned.
You
can
almost
think
of
it
as
your
Stage
Crew’s
script.
• Props
Preset
lists:
You
will
need
to
continue
to
edit
your
props
preset
lists
so
that
when
the
show
opens
you
have
a
checklist
that
can
be
checked
off
by
your
crew
to
make
sure
that
the
show
will
run
smoothly.
• Actor
half
hour:
Once
the
actors
start
using
costumes,
make
sure
that
the
schedule
allows
at
least
30
minutes
for
them
to
get
into
the
costumes
and
get
ready.
The
first
day
actors
get
into
costumes
it
is
wise
to
schedule
a
little
extra
time
as
they
may
need
to
work
with
the
costume
designer
on
how
exactly
they
should
wear
their
costume.
This
30
minutes
of
time
can
also
be
used
by
the
crew
to
get
the
stage
ready
for
tech
or
to
work
through
any
tricky
bits
of
tech
with
your
crew
that
don’t
need
the
actors.
• Goals:
A
successful
tech
process
will
have
gone
through
the
entire
show
at
least
once
with
all
the
tech
elements
and
run
the
entire
show
at
least
once
as
it
will
be
performed
for
an
audience.
12
• Cue
to
Cue-‐V.S.
Work
through
–
One
way
of
organizing
a
tech
is
to
do
what’s
called
a
cue
to
cue
–
this
means
going
over
the
sections
of
the
performance
that
contain
any
cues
in
them
–
working
that
section
and
then
skipping
to
the
next
section
of
the
performance
that
has
cues.
This
can
be
especially
helpful
for
shows
where
there
are
long
periods
of
time
where
no
cues
happen.
If
however
the
show
has
lots
of
little
cues
inter-‐spliced
throughout
the
show,
it
may
be
more
effective
to
simply
work
through
the
entire
show.
You
will
want
to
discuss
with
your
director
and
designers
which
method
will
work
the
best
for
your
show.
Even
if
you
do
a
cue
to
cue,
you
will
probably
still
want
to
make
sure
that
you
get
a
full
run
of
the
show
with
all
the
tech
added
in
before
going
before
and
audience.
This
allows
you
to
get
a
sense
of
the
timing
of
the
show
and
perhaps
catch
things
that
might
not
have
been
obvious
in
a
cue
to
cue
–
such
as
weather
an
actor
can
make
a
quick
change
during
a
scene
or
not.
13
DURING
THE
SHOW
During
the
show,
you
will
also
act
as
the
leader
of
the
show,
giving
the
actors
feedback
when
needed
and
checking
in
with
them
before
the
show
and
at
intermission,
overseeing
the
stage
crew
and
calling
the
cues
for
the
show.
You
are
their
link
to
the
world
off
the
stage.
During
the
show,
after
the
director
has
left,
you
will
also
be
in
charge
of
making
sure
that
the
production
stays
true
to
what
was
rehearsed.
• You
will
likely
need
to
show
up
at
least
an
hour
and
a
half
before
curtain.
Once
you
arrive:
1. Turn
on
the
necessary
building
lights
including
in
dressing
rooms,
green
room,
on
stage,
back
stage,
lobby,
etc
–
unless
this
is
done
by
a
facilities
manager.
2. Turn
on
all
the
running
lights
backstage.
3. Check
headsets
with
crew
members
when
they
arrive
if
you
are
using
them,
or
check
any
other
mode
of
communication
that
you
might
have
lined
up.
4. Turn
on
any
equipment
that
will
be
used
for
the
show
that
you
are
responsible
for
and
do
any
necessary
checks
to
make
sure
things
are
working
properly
(ie.
light
boards,
sound
boards,
microphones,
fog
machines,
etc).
If
you
have
a
separate
crew
member
running
a
piece
of
equipment,
make
sure
they
have
turned
it
on
and
done
the
necessary
checks.
5. Make
sure
the
stage
gets
swept
each
night
and
mopped
when
needed
(the
crew
can
help
you
there.)
6. Make
sure
the
props
all
get
pre-‐set
according
to
the
lists
you
have
made
during
tech
(the
crew
can
help
you
there,
too.)
7. Make
sure
that
you
have
any
trick
and
moveable
scenery
in
its
proper
place.
8. Make
sure
that
the
actors
run
any
specials.
These
might
include
dance
calls,
fight
calls,
running
a
scene
with
especially
tricky
language
or
lines,
music
call,
or
any
other
area
that
needs
extra
attention.
These
calls
essentially
entail
the
performers
running
the
piece
of
business
before
the
show.
These
sorts
of
calls
are
usually
decided
on
during
tech
by
the
director
and
sometimes
the
actors
themselves.
9. Make
sure
that
the
performers
get
in
some
warm-‐up
time
before
letting
the
house
manager
know
they
can
open
the
house.
Make
sure
the
actors
check
their
props
before
opening
the
house.
Make
sure
the
crew
is
set
before
opening
the
house.
10. You
will
want
to
have
a
sign-‐in
sheet
for
each
performance.
At
the
half
hour
call,
you
will
want
to
make
sure
that
all
of
the
actors
have
signed
in
(you
may
need
to
account
for
actors
who
have
forgotten
to
sign
in,
but
be
sure
to
let
them
know
that
they
need
to
sign
in
for
every
performance.)
Sample
sign
in
sheets
(documents
P)
are
located
in
this
section
and
on
the
CD.
11. Be
sure
to
give
the
actors
a
half
hour,
fifteen,
ten,
and
five
minutes
to
places
call,
plus
a
places
call.
Work
out
with
your
producing
organization
and
the
house
manager
about
when
the
house
should
be
open
to
the
public
to
be
seated.
Be
sure
to
check
in
with
the
house
manager
and
performers
before
opening
the
house
at
the
specified
time.
Performers
should
not
go
on
stage
once
the
house
is
open
unless
they
have
been
specifically
directed
to
do
so
by
the
director.
12. Before
you
open
the
house,
make
sure
that
the
lights
are
in
the
cue
they
need
to
be
in,
any
work
lights
that
need
to
be
turned
off
for
the
performance
are
off,
and
any
preshow
music
that
should
be
playing
has
started.
13. About
five
minutes
before
the
show
is
set
to
begin,
check
in
with
the
house
manager
to
see
how
the
crowds
are.
You
may
have
to
hold
the
house
for
a
few
minutes
if
there
is
a
long
line
at
the
ticket
counter,
or
not
all
the
audience
has
been
14
seated
quite
yet.
Set
up
a
system
with
the
house
manager
about
how
to
let
you
know
when
he
or
she
is
ready
and
everyone
is
in,
or
if
you
need
to
get
the
show
started,
what
the
late
seating
policy
should
be.
14. Give
the
places
call
to
the
actors
about
two
minutes
before
the
show
actually
starts.
15. When
all
is
set….return
to
the
booth
and,
once
the
house
manager
has
closed
the
house,
start
the
show!!
• If
you
are
going
to
call
cues,
it
is
a
good
idea
to
mark
in
your
script
warnings
for
those
cues
about
a
page
before
they
happen,
especially
for
a
show
cues
scattered
sporadically
throughout
the
script
or
for
LARGE
blocks
of
cues
that
happen
close
together.
Then
give
the
go.
An
example:
• Warning
Sound
A
• Stand-‐by
Sound
A
• Sound
A
go
This
also
applies
to
curtain
cues,
rigging
cues,
spot
light
cues,
and
any
other
types
of
cues
that
you
might
have.
• If
you
are
calling
a
cue
off
of
a
cue
light,
then
turning
the
cue
light
on
should
designate
the
stand-‐by
and
turning
it
off
should
designate
the
go.
Be
sure
to
explain
this
to
the
actor
or
crew
member
who
is
taking
his
cue
off
of
the
light.
• At
the
end
of
the
show,
wait
until
the
audience
has
mostly
cleared
out
(there
might
be
some
stragglers
who
wait
around,)
then
turn
on
the
work
lights,
turn
off
the
various
equipment
that
needs
to
be
powered
down,
and
follow
any
other
post
show
procedures
for
the
equipment,
space
and
other
items
used
in
the
performance.
• Turn
on
the
backstage
lights,
turn
off
the
running
lights.
Once
the
actors
have
cleared
out,
turn
off
the
dressing
room
and
backstage
lights.
• Before
leaving
the
space,
make
sure
any
clean
up
that
has
to
be
done
that
night
is
done
(eg.
Dishes,
laundry,
spills,
garbage,
etc.)
• Turn
off
the
lights
in
the
theatre.
• If
this
house
manager
still
has
things
to
do,
make
sure
that
they
are
able
to
lock
up
the
theatre.
If
they
have
already
gone,
shut
off
the
lights
in
the
lobby
and
make
sure
that
the
doors
are
locked
unless
this
is
something
that
the
facility
manager
does,
in
which
case,
check
in
with
them
before
leaving.
• You
will
also
need
to
write
performance
reports
to
e-‐mail
to
production
crew
after
every
show.
The
performance
report
is
used
to
let
people
know
how
the
show
went
and
whether
anything
needs
to
be
fixed
before
the
next
performance.
It
also
includes
a
house
count,
which
you
will
need
to
obtain
from
the
house
manager,
performance
times
and
any
other
pertinent
information.
The
performance
report
is
how
your
director,
designers
and
producing
organization
stay
connected
to
the
work
that
is
happening
in
performances.
15
LOAD-‐OUT
OR
“STRIKE”
Load-‐out
or
Strike
are
the
terms
used
for
the
time
that
is
needed
to
take
apart
all
the
physical
elements
of
the
production,
removed
them
from
the
performance
venue
and
get
them
put
away
or
returned
to
who
they
were
borrowed
from.
The
production
isn’t
really
over
until
everything
has
been
put
away.
As
Stage
Manger
you
will
want
to
work
with
your
producing
organization
and
the
facilities
manager
of
the
venue
you
are
performing
in
to
make
sure
that
some
form
of
strike
has
been
scheduled
and
that
everyone
is
clear
on
what
is
considered
“removed”
and
“put
away”
and
who
is
in
charge
of
what.
• Sets
–
This
tends
to
be
the
biggest
area
of
strike.
Sets
are
often
large
and
producing
organizations
will
often
put
out
calls
to
groups
of
volunteers
to
help
them
take
everything
down.
• Costumes
–
Costume
strike
may
also
involve
getting
the
costumes
clean
before
they
get
put
away.
If
things
have
been
rented
or
borrowed,
this
is
especially
important.
Make
sure
someone
is
on
top
of
getting
the
costume
where
they
need
to
go
to
get
clean
and
get
back
to
where
they
need
to
go.
• Props/furniture
–
As
Stage
Manager,
you
might
be
in
charge
of
making
sure
that
the
props
get
back
to
where
they
need
to
go.
Make
sure
you
have
talked
with
your
props
person
or
producing
organization
and
have
a
good
list
of
anything
that
has
been
borrowed
and
needs
to
be
returned,
or
if
the
organization
doesn’t
have
a
place
to
store
props
and
furniture,
what
they
plan
to
do
with
the
items
that
they
purchased
once
the
show
closes.
• Lights
–
make
sure
you
know
what
is
needed
to
reset
the
lights.
Some
places
have
crews
to
take
care
of
this
themselves
and
don’t
want
anyone
messing
with
them.
Other
places
might
not
have
had
and
lights
to
begin
with
and
you
may
be
dealing
with
borrowed
gear.
Make
sure
it’s
very
clear
what
needs
to
happen
with
everything.
• Space
in
General:
It
is
so
important
to
make
sure
that
everyone
is
clear
about
their
expectations
about
how
the
space
used
for
the
performance
should
be
left.
One
group
leaving
a
big
mess
in
a
venue
can
really
wreck
things
Congratulations!
You
are
now
on
your
way
to
becoming
a
stage
manager!
16