Page 1 of 80

Stage Manager’s Handbook 

Hofstra University Department of Drama and Dance 
 
By The Hofstra University Stage Managers

Faculty Advisor and Editor:

Professor Rychard Curtiss, AEA
Contributing Editors (2014 to present):
Noah Silva David Henderson Tia Harewood-Millington
Dabney Rauh Autumn McDonald Amber Helou
Ally Fairchild Caitlin McCarthy Maggie Latham
Geena Forristall Brianna Bursey

NOTE:
This document will be updated each semester. The most current version will be found at: ​HU Drama & Dance Department
Information​.

 
Edited and adapted from the 2013 edition by Katie Hesketh & Phil Tyler, Angela Allen’s 2005 Senior
Practicum, and Linda Marcello’s 1998 Honors Thesis. 
 Page 2 of 80

Introduction (2013 edition)

K: For four years, Phil and I have not only been colleagues but best friends, as well as each other's biggest critics-
P: Both professionally and personally. Which is why we felt it was important to update this handbook together.
K: Through each of our various assignments here at Hofstra we never went through it alone. We talked through
nearly every issue and question we had.
P: It was always a collaboration, and having two points of views, two approaches to stage management, really
helped both of us improve over the years-
K: So why should the handbook be any different? Especially considering how different the productions we both
have worked on have been.
P: But this book was an amazing resource for both of us as we got started.
K: I wouldn’t have gotten through my first year here if it weren’t for the handbook. I got thrown into stage
managing a club show my first semester here, and my second semester a senior practicum. The handbook was my
only real resource during that time and quickly became invaluable to me. The most important aspect was
definitely the Hofstra specific information, especially requesting spaces and strike protocol.
P: Even three years later, after an ASM assignment and completing the stage management course, I still returned
to the handbook as I began stage managing on my own, whether I was remembering what I needed to do for our
first read-through, or looking of Schneider notation symbols for my prompt book.
K: The first edition of this book was written in 1998 with an updated version published in 2005. Since then we
have seen amazing growth to the stage management concentration within our program. The stage management
course is currently offered every year, and is popular with both production and performance majors.
P: As technology evolves, the department has migrated to emailed rehearsal reports, online call boards, and cloud
collaboration with the production team. We also started the first student repertory festival in Fall 2011, which is
held in the Black Box Theater, built in 2009.
K: The “Student Rep” replaced the old system for directing projects, honors theses, and senior practicums.
P: There is also a growing network of Hofstra Alumni Stage Managers working across the country, including
Broadway shows, national tours, or regional houses.
K: We wanted this handbook to not be a how-to for stage management (which the class should cover more
accurately and in more detail) but a resource of Hofstra specific information, covering rehearsal space
information, phone numbers, and department traditions.
P: One of the most important things we did was expand the appendix of the handbook to serve as a better resource
for new stage managers at Hofstra. What I called “stage managing” in high school was nothing compared to what
would be expected of me in college or professionally.
K: We added back some material that had been part of the original 1998 edition, while updating forms and
paperwork to reflect changes in the department over the last eight years.
P: We wanted the appendix to offer practical documents for new stage managers: quick Google search might offer
you 100,000 results for how to build a performance report, but that glut of information only proves confusing and
overwhelming.
K: It is important to note that is handbook is not just our own work. It is the culmination of the information and
knowledge we have gained from every Hofstra stage manager before us as well as our advisor. We would like to
thank them for not only being our mentors, but our friends.
P: We would especially like the thank Angela Allen and Linda Marcello for all of their hard work before us.
Through Linda and Angela’s work we have been able to grow and learn as Hofstra stage managers. We hope that
all future Stage Manager’s find this book as useful as we have.

Katie Hesketh and Philip Tyler

December 2013
 Page 3 of 80

INTRODUCTION
(The 1st edition)

It was towards the end of Act II during a production of ​The Sound of Music​. The lights grew dim upstage of the
scrim, as the scenery began to move. Franz, the butler, was coming off stage with a café table on casters, and he
was almost into the wing, when the porch floor beneath him began to move - a second too soon. Suddenly the
table was tipped onto it’s side, and a silver tray of food, a water pitcher (filled) and fifteen (glass) champagne
glasses were crashing down the steps and onto the stage. The sounds of the glasses breaking still rings in my
head, as I think of the moment it happened. Immediately, I looked over at the Stage Manager, who had indeed,
called the cue early. She was calm, focused, and pleasantly asking the Music Director to “vamp” a little while the
mess was cleaned up. I was impressed.

It is not possible to teach a Stage Manager how to deal with that kind of situation. No one can teach another (or
write in a handbook about) how to have the composure, understanding, patience and flexibility that a Stage
Manager needs. These are qualities that are either innate in a person or are acquired through first hand experience.
As a Stage Manager for the Department of Drama and Dance for three years I have experienced a watching
and by “doing.”

The role of a Stage Manager is a tough one to play. Despite the unending amount of work a Stage Manager does,
it is not an overly appreciated position. Yet, it is a position that teaches you to appreciate others: those that work
with you and those that work for you. A Stage Manager will learn early on that the more thanks and appreciation
he/she shows to their cast and crew, the smoother the entire production process will flow.

I felt it was necessary to have some sort of instructional guide, that would prepare Stage Managers who were
working in this educational environment. Although this department works in very close alignment with
professional standards, there are still some things that a Stage Manager at Hofstra University needs to do either
differently or in addition, because of the environment. My intent was to put together an informational handbook,
that could be used as a reference by Stage Managers, (and also by Directors, Designers, crew members, etc.) who
want to know specifics regarding the responsibilities of the job as it is set-up here.

I sincerely hope that this handbook will be able to answer questions and clear up any confusion one might have as
a Stage Manager in this department. I am certain that it will not answer all of them. My biggest piece of advice:
do not be afraid of making mistakes or asking questions. The only way you’ll find all of the answers you need, is
through experience!

Linda Marcello
December 1998
 Page 4 of 80

INTRODUCTION
(The 2​nd​ Edition)

I began Assistant Stage Managing Hofstra Drama Department productions my second semester of my Freshman
year. The Stage Management Class was just beginning to be taught, but I was not enrolled in the course. My
only real instruction at that point was my Stage Manager, my fellow ASMs, and this Handbook. I found all of
these resources to be helpful to me, but this book was an invaluable tool. It gave me helpful hints and tips for
Stage Managing in the Department.

The next semester, I began Stage Managing Department productions, and I also enrolled in the Stage
Management class. I quickly realized that I did not really grasp the ins and outs of Stage Managing here, as I had
previously thought. The Stage Management course provided much help for me while I was in class, but I found
that I would have questions that needed to be addressed during rehearsals, when I could not ask the Instructor for
assistance. I turned to the Handbook for guidance. It became increasingly less helpful as I went through my first
Departmental Stage Managing experience, as much of the information contained in the Handbook had become
outdated. In addition, I found that much of the information in the Handbook was being taught in the course.
When the Handbook was originally written, the course did not exist, so every minor detail needed to be in the
Handbook.

I decided that the Handbook needed to be updated with new policies and new information, but also much of the
original information needed to be removed, as it is being covered in the Stage Management course. A goal of
mine for this new Handbook was to make it less daunting and challenging to its readers by condensing the
information. This new version of the Stage Management Handbook is meant to be used as a resource tool, in
tandem with the Stage Management course, and its Instructor.

Lind Marcello deserves most of the credit for this Handbook, whereas I simply updated the information contained
within it. Ms. Marcello created an immensely useful tool for Stage Managers and Assistant Stage Managers here
at Hofstra University. I hope that the future readers find my updated version as helpful as I found the original
version to be.

Angela Allen
December 2005
 Page 5 of 80

TABLE OF CONTENTS

By The Hofstra University Stage Managers 1

Edited and adapted from the 2013 edition by Katie Hesketh & Phil Tyler, Angela Allen’s 2005 Senior
Practicum, and Linda Marcello’s 1998 Honors Thesis. 1

PRE-PRODUCTION 9
Getting Acquainted with the Director 9
Auditions 9
Callbacks 9
Contact Sheet 10
First Read Thru/Cast Meeting 10
Cloud Collaboration & File Sharing 12

PRODUCTION/REHEARSAL PROCESS 13
Space Requests 13
Production Meetings 13
Production Calendar 14
Specifics to Consider: Musicals 16
Specifics to Consider: The Shakespeare Festival 16
Specifics to Consider: The Shakespeare Tour (Companion Piece) 17
Specifics to Consider: Faculty Dance Concerts 18
Specifics to Consider: Club Shows 19
Specifics to Consider: Student Repertory 19
Rehearsal Schedules 20
Taping the Floor 20
Smoking On Stage 21
Fights and Using Prop Weapons 21
Warm-ups 21
Breaks 22
Prompt Book 22
Blocking 23
Rehearsal Reports 23
Tracking: Props/Costume Changes/Sound Cues/Light Cues 24
After Rehearsal 25
Public Safety 25
Assistant Stage Managers 25
Program Information 26
Complimentary Tickets 27
Communicating with the Technical Director & Designers 27
Running Crew: Information, Run-thru, and Tech Week 28
 Page 6 of 80

TECH WEEK 29
Tech Week Schedule 29
Sign-In Sheets 29
Collecting Valuables 30
Dressing Room Assignments 30
Tech Week 31
First Dress (Tech Week Day Three) 33
Writing Cues in the Prompt Book 34
Headset Etiquette 34
Public Relations/Publicity Photos 34
Visitor Policy 35
Departmental Traditions 35
The Ringing of the Shakespeare Bell 35
Calling the Show 36
Performance Reports 36
Photo Call 37

POST-PRODUCTION 38
Strike 38
Strike Food 38

CONCLUSION 39

APPENDIX A: 40

PRE-PRODUCTION 40
Contact Numbers to Know 41
Rehearsal Spaces and Room Numbers 42

APPENDIX B: REHEARSAL/PRODUCTION PROCESS 47

Responsibilities of the Cast Deputy 48
Character/ Scene Breakdown 51
Blocking Key 53
Rehearsal Report samples 54
Production Meeting Minutes 56
Rehearsal Schedule 57
Props & Sound Lists Forms or Samples 58

Appendix C: Policies & Guidelines 60

RULES FOR USE OF DRAMA DEPARTMENT SPACES
(As provided by the Production Manager to those requesting rehearsal space from the Department of Drama
and Dance) 61
Emily Lowe 022, 106, 108, 110, Calkins 139, Spiegel Theatre 61
Shapiro Family Hall 62
Spiegel Theatre 64
John Crawford Adams Playhouse 66
 Page 7 of 80

APPENDIX D: 69

TECH WEEK/PERFORMANCE 69
Sign In Sheet 70

GLOSSARY 76
 Page 8 of 80

STAGE MANAGER RESPONSIBILITIES

The following is a sample list of duties for the Stage Manager. This list may change to fit each production’s
specific needs. The list may include, but is not limited to:

● To Schedule, attend, and run all ​Production Meetings with the Director, Designers, Production
Manager, and the Assistant Stage Managers. It is up to the Stage Manager to decide if he/she wants to take
the minutes during the meetings, or if the Assistant Stage Managers should do so. If the Stage Manager is
brought in early enough in the production process, he or she may be responsible for organizing and scheduling
Design Meetings​ between members of the production team.
● Communicate with the Costume Designer and Costume Shop Supervisor to schedule both
measurement and fitting appointments in a timely manner.
● To get in touch with all cast and crew members as soon as all roles or crew assignments are known.
● To respect the established Drama 55 Schedule made by the Instructor of Drama 55.
● To request rehearsal spaces from the Production Manager that meet the needs of the production.
● Spike the set as needed for rehearsal, sweep the rehearsal space before each rehearsal begins, set
rehearsal props and furniture when appropriate.
● Run all ​Rehearsals​ and call breaks at the proper times in accordance to Equity standards.
● Restore the rehearsal space to its original state at the end of each rehearsal.
● To circulate daily ​Rehearsal Reports​, and later ​Performance Reports​, summarizing the progress and
complications of each departmental production, to the Director, the Designers, and the Head of Drama 55.
The Costume Shop Supervisor and Stage Management Advisor should also be included in every report.
● To address any problems within the production process of each show, and to communicate with the
appropriate people in an effort to resolve them.
● To run all of the rehearsals during ​Tech​.
● To ​Call the Show ​accurately​.
● To arrange for, procure, and set up ​Strike Food ​during strike.
 Page 9 of 80

 
PRE-PRODUCTION 
Getting Acquainted with the Director 

Since the Stage Manager will be working closely with the ​Director throughout the entire production process, it
is important to establish a good working relationship from the start. All Directors work differently, and have
certain expectations for their rehearsal, tech and performance processes. Some Directors prefer to communicate
through email or telephone, while others prefer speaking face-to-face, and yet others prefer utilizing the Drama
Office mailboxes. It is important to maintain open lines of communication and trust between the Director and the
Stage Manager, as this will lead to a more organized and less stressful work environment for the whole company.

Some Directors prefer to make their own rehearsal schedule, while other Directors prefer to give the Stage
Manager the rehearsal dates and conflicts and have the Stage Manager put the schedule together. Find out from
the Director which method is preferred. If the Director wants the Stage Manager to schedule rehearsals, then find
out if the Director has a specific preference about where he/she would like to rehearse. Once the Stage Manager
knows which rehearsal spaces are needed for which days, then the Stage Manager needs to follow the current
procedure for procuring that rehearsal space.

A few possible questions to keep in mind when talking to your Director include:
● What days off do you want?
● What is your teaching schedule, and what are your open office hours?
● Do you prefer “fives” or “tens”? How do you want to be notified of the time limit?
● What sort of atmosphere do you want or expect in the rehearsal space?
● What is the best way of communicating with you?
● What information do you want made public on the contact sheet?
● Do you have a preference for a rehearsal space? Is there anything you know you will need right away
(special furniture, speaker system, etc)?
Auditions 

If the Stage Managers are assigned before or during the ​audition process, they should assist the director of their
show. The Stage Manager should check with the Department Chairperson or Production Manager to see what
assistance is needed during the auditions. This may include proctoring the auditions, collecting contact and
conflict sheets. As the audition proctor, duties include but are not limited to, setting up the audition space with the
appropriate number of chairs and tables, copying and posting the list of who is auditioning, checking with the any
or all other proctors for the evening, and setting out additional audition forms.

After all of the auditions have been done, all of the Directors for the semester will meet to discuss whom they are
choosing to call back. They will also discuss scheduling, so that the actors are not called back at the same time for
different shows. The Directors will post the callback lists on the entrance door to Emily Lowe Hall when the lists
are finalized.
Callbacks 

Callbacks are similar to auditions, yet depending on the play, they can require a lot more organization. Check
with your Director if they would like you preset at the callback and what they would prefer your duties to entail.
Some directors prefer to have the Stage Manager in the room with them reading stage directions, lines, etc. while
others prefer the Stage Manager to take on a similar role to the Procter, handling the flow rotation of actors being
 Page 10 of 80

seen. Because several callbacks will happen simultaneously, it is important for you to communicate with the other
Stage Managers and Proctors when an actor is called back for multiple productions. You may be asked to set up
call back space and acquire any additional materials needed: ie boom box, script copies, etc.

Upon completion of callbacks, the Directors will meet to discuss their casting choices. Once they have agreed
upon whom will be cast in which role and in which show, the ​cast list will be posted on the entrance door to
Emily Lowe Hall. Please note that the cast list is posted as soon as all of the Directors come to an agreement, and
this could take as little as a few hours or as long as several days. On the cast list, the Director may want to tell the
cast the date and time of the first read-thru/cast meeting, and when they will be able to pick up their scripts.
Actors accept their roles by initialing the cast list. In the event an actor does not initial in a timely manner, the
Stage Manager should contact the actor to confirm they will be accepting the role.
Contact Sheet 

The ​Contact Sheet is one of the most important documents the Stage Manager compiles at the beginning of the
process. The Contact Sheets should contain the following information: The Name of the person, the person’s
position on the production, their phone number, and a current email address. The goal is to have as many ways as
possible to get in contact with any member of the team.

The Stage Manager should make two separate Contact Sheets; one for the Cast and one for the Crew. Both of the
Contact Sheets need to have contact information for the Director, Assistant Director (if applicable), Stage
Manager, Assistant Stage Managers, Costume Shop, and the Backstage Phone – if applicable. Aside from the
aforementioned people, the ​Cast Contact ​Sheet should also have all of the cast listed alphabetically, for easy use.
Aside from the aforementioned people, the ​Production Team Contact Sheet ​should also have the following
positions information if applicable. Please see Appendix A for example. Use faculty office phone number and
email address unless the faculty member specifies otherwise. The Stage Manager should consult the Instructor of
Drama 55 or the Drama 55 Crew list emailed prior to the semester to find out who will be on the Crew for a
production. Email run crew/board ops ASAP because the list may change due to Drama 55 enrollment.

Once the Stage Manager finds out which positions will be filled by whom, he/she should go to the Drama office
to gather the emails and phone numbers of everyone on the Crew and in the Cast. Student information cards are
on file with the Secretary. If the student has not filled out a white card and/or you can’t get contact information
from the audition sheets ask the department secretary for assistance. Office phone numbers and email addresses
for faculty are available on the Hofstra University website.

First Read Thru/Cast Meeting 

The Director may decide that prior to the First Read Thru, he/she would like to hold a ​Cast Meeting​ to discuss
roles and potential research that needs to happen. If so, then the Stage Manager needs to find out from the
Director when and where this meeting will occur, and if the Director wants the Stage Manager to schedule the
meeting. If the Stage Manager is to schedule the meeting, then he/she needs to follow the proper procedure for
procuring rehearsal space, and contact the cast about the meeting. The director will have received an initial list of
conflicts as part of each actor’s audition sheet. The Stage Manager should follow the same procedure for the
First Read Thru​.

The Designers should be invited to the First Read Thru, as it is probably the first time the Director will talk to the
entire cast regarding his/her concept for the show and the designers may want to show a model, or renderings of
the set, lights, costumes, etc.
 Page 11 of 80

The Stage Manager should check with the Director to see how they would like the space to be set-up. Most prefer
a circle of chairs or chairs around a large table. This may also be a good time to ask how they would like the
room set-up for the rehearsal process.

During the actual read thru of the play, the Director may want Stage Management to read the stage directions,
sound effects, or extra lines.

During the rehearsal, the Stage Manager needs to speak to the cast. This is the opportunity for the Stage Manager
to discuss policies and procedures, deadlines, conflicts, as well as distribute any preliminary documents.

The following information should be addressed at the First Read-Thru:

● Explain to the cast that after their initial conflicts have been noted, the Stage Manager and Director
will attempt to meet other conflicts that may arise, but there is no guarantee.

● Confirm with any RAs in the cast or crew when their meetings, duty hours, or required events are.

● Explain the Drama 55/56 policy regarding coming late to rehearsals. ​Refer to the current Drama
55/56 Syllabi for details on the current policy.

● Circulate the cast contact sheet, and confirm that names are spelled correctly and emails/phone
numbers are correct.

● Explain the current lateness / absence policy that Drama Department follows. Encourage everyone to
save the Stage Manager’s phone number(s) in their cell phones, in case they are away from their contact
sheets and need to contact the Stage Manager for any reason.

● Inquire with the actors whether or not they have any known allergies, especially to either food or drink
they may come in contact with in the rehearsal/performance process.

● Elect a Cast Deputy. See the document titled HU-DD-Responsibilities of the Cast Deputy for an
explanation of the Cast Deputy and election procedure. The most current version can be found in Appendix B and
at: ​HU Drama & Dance Department Information​.

● Circulate a Production Calendar, if it is ready, off book, last day to call for lines, etc. Check with the
Director of Publicity for the current policy on the format or length of bio.

● The Director, if applicable, should assign additional lines or minor roles to members in the cast. This
information should be noted in the rehearsal report and distributed to the appropriate parties. (i.e. Costume
Designer, Sound Designer, Choreographer)
 Page 12 of 80

Cloud Collaboration & File Sharing 

Cloud software offers great ways to work collaboratively and share documents quickly and securely. Draftings,
props research, rehearsal reports, meeting notes, and more can all be backed up and shared quickly between all
members of the production team.

● Dropbox​ syncs files on your own hard drive with storage in the cloud, and can create live-updating,
shared folders between users that sync and and can connect across Windows, OSX, Linux, iOS, and
Android.
● Google Drive​ offers purely cloud-based storage of documents, including forms, spreadsheets, or basic text
documents. Google Drive also provides an excellent environment to access and actively work on the same
document ​simultaneously​.
● There are online scheduling applications and programs such as ​Doodle​ that can be used to organize a large
group of people’s schedules and work out the best times for meetings.
 Page 13 of 80

 
PRODUCTION/REHEARSAL PROCESS 

Space Requests 

The following spaces are overseen and reserved for use as rehearsal space for the Department of Drama and
Dance: Emily Lowe 022, 106, 108, 110. Calkins 139, and the Spiegel Theater.

● Permission to use any of the above listed departmental spaces must be obtained in writing, via email to the
Production Manager (currently Jim Hart, james.hart@hofstra.edu).
● In every email request, provide the following information:
○ Your name and phone number
○ The name and phone number of the primary contact (the responsible party to be present at the
rehearsal during the requested time; for a club this is often the stage manager, unless a producer
will be present)
○ The name of your project, whether your project is for the department, a course, or a club; the name
of the department, course or club.
○ The days, dates, and possible start and end times you would like to reserve
(example: Sunday, 4/20: 7:00pm - 11:00pm)
○ You need to include time for stage management needs for setup, and breakdown when making
space requests. (An hour before and after intended rehearsal start and end times.)
○ Your preference of space (studio, theatre, or classroom) Be sure to note any special requirements:
ie, a studio you can tap in, a piano, access to a sound system or projector, etc.
○ If requesting multiple dates, please rate each day according to importance.
● Requests for space are due to the Production Manager on Tuesdays. Generally, scheduling is done
between Wednesday and Friday for the following week (Monday through Sunday), however, a minimum
of 48 hours notice is required for requests. The longer you wait, the more likely the spaces are to fill up.
● Once permission is granted and scheduling confirmed from Jim Hart via email, print and keep a hard copy
of the email in your possession as proof of your claim to the space at the scheduled time.

NOTE FOR CLUBS: additional space possibilities are Monroe for music rehearsal (48 hours notice needed to
book a space, otherwise you can take any empty practice room, schedules are posted on the door of each room
and are 1st come 1st serve) or the student center (2 weeks notice, producer must send in form online, you must
use space or cancel with at least 24 hrs notice) breslin is another option but is not ideal due to tiered classrooms
(same conditions as student center)
Production Meetings 

The Stage Manager is the person that runs the ​Production Meetings​. They are responsible for arranging a
mutually agreeable time for all of the Production Staff, or at least the majority of the staff, to meet, and informing
all of the attendees when and where the regular weekly meetings will occur. Weekly production meetings are
always held on either a Monday or Wednesday at 7pm.

The Production Manager chooses the meeting time; the SM may be asked to ask the creative team if the prefer
Monday or Wednesday

As a courtesy, the Stage Manager should remind the attendees of the meeting 24 - 48 hours in advance.
Production Meetings should begin promptly, as there will be much to discuss. If people consistently arrive late,
 Page 14 of 80

the Stage Manager should speak to them after the meeting to let them know that the meeting will start without
them to unless they are informed in advance that they will not be on time. Current crews working 4-7pm may be
5-10 minutes late. Do not start without the production manager or technical director present.

It is imperative that the Stage Manager or an Assistant Stage Manager takes accurate notes on everything
discussed. Taking detailed minutes is vital to the success of the production, as this allows for open and
clear communication between all departments, and acts as a record of the information

The Stage Manager should take ​attendance at the meeting. Then, the Stage Manager might want to lead off the
meeting with dates, deadlines, or other issues that they needs to know about that are relevant to all attendees.
Then, each department head should give a ​Progress Report​ or update.

Allow each department 3-5 minutes to ask questions and update the rest of the Production Staff on what has been
done, and what needs to be/will be done for the next week. As the Stage Manager, you are responsible for keeping
the meeting on topic. Should the designers and or director spend too much on a specific aspect of the production,
you should suggest you schedule a separate design meeting to discuss the topic in greater detail.

After all departments have been discussed, the Stage Manager should remind all attendees of the dates/times of
the next production meeting, upcoming deadlines, events or other relevant information.

The ​Production Meeting Minutes ​should be typed, headed by the name of the production, the number (1​st​, 2​nd​,
etc.), day, date, time, and location of that meeting, followed by the attendance and finally the notes on each
department. Somewhere on the Minutes should appear the day, date, time, and location of the next meeting, as
well as the Stage Manager’s name and phone number.

A copy of the Minutes should be emailed to everyone on the Production Staff – that same day, or next morning. It
is important that the Minutes be distributed in a timely fashion so that everyone has a record of what was
discussed at each meeting, and so that they can start to work on what they are responsible for.
 
Production Calendar  

Before the first Production Meeting, the Stage Manager should work in tandem with the Technical Director and
the Director to create a ​Production Calendar​. This should be presented at the first Production Meeting for
editing. The edited and agreed upon Calendar should be distributed to the entire Production Staff, including the
running crew, so that everyone involved with the production will have a copy of the deadlines and due dates that
they need to comply with. If the information on the calendar is accurate and is properly distributed to the
Production Staff, the responsibility will lay with each designer and crew member to follow through.

Possible dates / events to incorporate on the calendar may include, but are not limited to:

● Biographical / Program information due: date that all Designers/Production Staff should hand in
bios, director’s notes, special thanks, etc. for the program. Consult with the PR crew
● Program copy due date:​ date that the program must be turned into the Director of Publicity.
● Set the Tech Schedule: ​date that the Tech Schedule will be set by ​(​generally last production meeting
before tech weekend)
● Off-Book Date: day that actors can no longer use scripts in rehearsal (consult director, they may want
to choose or they may want the SM to choose)
● Symposium:​ arranged by the Chair of Department - consult ​semester calendar
 Page 15 of 80

● Running Crew Run Thru: rehearsal before Tech Week begins for running crew to watch a full run
thru of the show.
● Designer Run Thru:​ rehearsal prior to tech week for Designers to watch a full run thru of the show
● Last day to add props/costumes: usually one week before tech week begins; last day that the
Director can add props/costumes – after this date, if the Director requests additional props/costumes, it is
given to the Director at the discretion of the designers
● Props Deadline: usually the last day of rehearsal before tech week begins; all requested props must be
present at rehearsal
● Build/Paint days/week-end: dates/times that the TD will be working on the build of the set;
dates/times the TD and Set Designer will be painting the set; the Stage Manager will be responsible for
finding alternate rehearsal space for any build/paint days that may interfere with rehearsal schedule
● Sound Deadlines: dates for rehearsal recordings to be completed; dates for rehearsal equipment
(microphones, etc.) to be set-up in rehearsal space; dates for final show recordings to be completed; dates for
all sound equipment for show to be set-up in performance space; final show equipment and recordings are
expected to be completed by the first day of Tech Week
● Light Hang/Focus:​ usually during the week prior to Tech Week
● Tech Week:​ Begins the Saturday prior to opening night; “Call” and “Go” times should be indicated
● First Dress Rehearsal: usually the Monday of Tech Week; all costume pieces must be present and
worn at rehearsal
● Preview:​ the final Dress/Tech Rehearsal before opening night (if applicable)
● Opening Night - Closing Night:​ give call times and curtain times for each performance
● Dark days:​ days that there are no performances or rehearsals
● Publicity dates: Chronicle and other newspaper reporters; HTV recordings; WRHU Radio Shows;
outside publicity interests (all if applicable) Check department calendar and with Publicity Chair.
● Photo Call: date for Photographer to take still shots before or after show; decided upon by Director
and availability of photographer. Consult with the Managing Director of the department.
● Strike:​ immediately following last performance

In addition to all of these dates, the Production Calendar should also include the dates and times of all ​Rehearsals
and ​Production Meetings​. Also, important University dates or events, such as a concert or conference in the
Playhouse, Spring/Fall/Winter Breaks, or other holidays, should all be included on the calendar, as they may
affect scheduling rehearsals, etc.This can be done on a Google Calendar.

For Dance Concerts or Lecture Demonstrations, there will be other important dates to highlight on the Production
Calendar:

● Laying of Marley Dance Flooring: day and time that marley dance floor will be laid in the
performance space; usually as soon as possible before the first Spacing rehearsal
● Spacing Rehearsals: usually the week before Tech Week, each choreographer has an opportunity to
rehearse their piece in the space on the marley floor - no tech is used or needed
● Tech Week: usually begins the Saturday before opening night; each choreographer has a certain
amount of time to tech their piece on a specific day/night; usually Saturday, Sunday, and Monday are used to
Tech individual pieces, and Tuesday and Wednesday are Dress/Tech Run Thrus of the entire program, with
opening night on Thursday

It may not be possible to include all of these dates on the initial Production Calendar, but the Stage Manager
should attempt to make it as complete as possible. Any additional dates or changes in the calendar should be
distributed in writing to the Production Staff ASAP.
 Page 16 of 80

Specifics to Consider: Musicals 

When Stage Managing a ​Musical for the Department of Drama and Dance, there are a few additional and/or
different responsibilities. The Stage Manager will be required to deal with two additional areas for Musical
productions, ​Music Rehearsals ​and Choreography Rehearsals, ​as well as Acting Rehearsals. It is wise to
delegate each ASM to deal with a different set of rehearsals, but the overall organization and supervision of the
production is left to the Stage Manager. Generally, the Musical Director will communicate with the Orchestra.
The following is a list of different situations that may come up when working on a musical:

● Following the current procedure to procure additional rehearsal spaces when needed.

● Ensuring that the ​Musical Director has what he or she needs for orchestra rehearsals (piano, music
stands, minor instruments, photocopied music etc.)

● It is helpful if the Stage Manager is able to read music, but it is not always necessary. Stage Managers
should familiarize themselves the terminology and the basics (how to count, time signatures, measure, #’s,
etc).

● Finding out what type of shoes the dancers will need, informing the Costume Designer as soon as
possible, and storing and distributing the shoes at rehearsals.

● Ensuring there is time in the Tech Week schedule for an orchestra tech with the Sound Designer and
Engineer, as well as a ​Sitzprobe​, in which the orchestra and cast will work through the music of the show for
the first time together.

● Determining how much assistance the Musical Director requires, if any: Will there be a lot involved in
the setup and cleanup of the orchestra? Will he/she need a ​page turner​? Will he/she need help in contacting
the actors or orchestra members? If they need an extraordinary amount of assistance you should discuss with
the Instructor of Drama 55 about the possibility of adding a Drama 55 student in a position to help them.

Specifics to Consider: The Shakespeare Festival

Each spring, stage managing either the Shakespeare play or the companion piece calls for some additional
considerations.

● The Shakespeare show is presented in the afternoons to local high schools during the week. Actors and
crew members will need to be excused from classes for those days; excuse forms can be obtained from the
Drama and Dance department, and should be signed by the Chair of the Department. The SM should
distribute the forms prior to tech week. ​Forms should be submitted to the chair for approval at least one
week in advance of the matinee performance.

● Assign an ASM to work with and Stage Manage the High School Competition Scenes during the week.
The ASM should ensure that all costumes for the production are moved into the smaller dressing rooms,
the evening prior to the High School day, as the High School performers will be using the Choral dressing
rooms to prepare.

● There are two High-School Shakespeare Days that fall on the second Thursday and Friday of the
Shakespeare Festival fortnight.
 Page 17 of 80

● High schools arrive at 9am and are met by student volunteer chaperones. The Assigned ASM should
gather the chaperone phone numbers to enable contact throughout the day.
● High schools then watch the companion piece and participate in workshops. It is the responsibility of the
assigned chaperones to escort the high schools, not the ASMs.
● High School tech their scenes between 12:00 and 2:30pm. High schools rotate in and out between tech and
their lunch break. The Stage Manager should obtain a program from the Drama Department which will
have information on scheduling of performances and call times.
● The scenes end at approximately 4:30 and are followed by an awards ceremony on the Playhouse stage.
Snacks are provided for the high school students, crew and audience.
● Schools depart at 5pm.

● Tech for the High School Scenes is really more of a chance for them to rehearse in the space— do not try
to do a cue-to-cue, get the cues placement from the Director and run them while the students run their
scenes. Generally the cues are simply when to turn the lights on or off with a bump or fade out.

● An ASM from the mainstage show or the SM from the tour will be assigned to act as the Stage Manager
of the Collegium Musicum. This is a presentation by the Department of Music featuring music that is
related to the Shakespeare play being performed in the festival. The ASM chosen to act as Stage Manager
for this will be present at tech rehearsal prior to the performance as well as the performances themselves.
They will act as the main informant and liaison to the Playhouse Technical Staff for the Musical Director.
They will call the light cues required as well as keep the backstage area clear and quiet. The Stage
Manager of the Companion Piece traditionally assists the Stage Manager of the Collegium Musicum.

● Hofstra University has a two story scale replica of Shakespeare’s Globe that has been in use for many
years. When the Globe is used, the Stage Manager should work closely with the Playhouse staff to ensure
the safety of all performers and crew working on the Globe set. The Playhouse staff will give a
walkthrough tour of the entire set before it can be used in rehearsal.

● Unlike the other department shows, The Shakespeare Festival mainstage has two symposiums. The first
symposium features a discussion of the play by the dramaturg or another academic scholar. The second is
the presentations by the designers, and the scene performance by the actors. Both dates are scheduled by
the Chair of the Department.

Specifics to Consider: The Shakespeare Tour (Companion Piece) 

● The Stage Manager of the traveling show will work with the Production Manager to determine off-campus
performance times and locations. The Stage Manager should then contact liaisons at off-campus locations
to determine load-in times, special considerations for the space, if there is a talkback with the audience,
etc. Every outside group must be warned if there will be any weapons used in performance.

● The Stage Manager will need to make travel plans to and from each performance, and coordinate with the
faculty member working the traveling show that day.

● The Stage Manager should make sure the director, designers, and cast are aware of their smallest
performance space, as this will influence the set, blocking, fight choreography, etc.

● The Stage Manager should always ask if there is backstage area for the travelling show at each location. If
not, ask if there is space designated for activities such as costume changes or if they will have to occur
onstage.
 Page 18 of 80

● The traveling show will need extra rehearsal time to teach the cast how to set and strike the set— there is
no run crew.

● When the touring show performs in the playhouse, the Stage Manager will work with one of the mainstage
ASMs to learn the layout of the space, rules for working in the playhouse, etc.
Specifics to Consider: Faculty Dance Concerts  

Stage Managing a ​Faculty Dance Concert is very different from any other type of show. This is mostly because
there may be anywhere from 5 - 10 Choreographers who are working on different pieces, that will ultimately
become the concert. ​The stage manager should attend rehearsal at the discretion of the choreographer; be in
contact with the choreographer once a week​.

The following is a list of different situations that occur with Dance Concerts:

● The Stage Manager will need to collect rehearsal schedules and information from all Choreographers..

● The Stage Manager will work with the Composer and Choreographers to ensure that everyone has
music ready for the Designer Run.

● The Stage Manager will need get the schedule from the producer.

● The Sound Designer will need to talk with each Choreographer regarding the recording of their music.

● The Stage Manager should work with Producer and Production manager to create the Tech Week
Schedule and the order of the concert. It is imperative that adequate lunch and dinner breaks are provided for.
Consult with the Instructor of Drama 55 before finalizing the Tech Schedule.

● The Stage Manager will ensure the wings are swept and clean at all times to ensure the safety of
barefoot dancers.

● The Stage Manager will organize the lighting gels in order backstage in folders. There will be a gel
plot provided by the Lighting Designer detailing the order.

● Ice Packs are stored in the Playhouse Shop Freezer and may be applied by the dancers to their own
bodies, per Hofstra University Policy.

● The Photo Call usually happens during the last Dress/Tech; Schedule the order with the Producer.

● The Dancers will need as much warm-up time as they can possibly have; they need to keep their
bodies warmed up, so having warm-ups scheduled closer to the curtain time, would be preferable; however,
this is not always logistically possible. The best way to do this is to make sure the stage was set (mopped, etc)
and then inform the dancers that the stage is available for warm ups (generally from 6:30ish to 7:50 ish, make
sure the main curtain is fully down. Dancers should not warm-up in costume.

● All Drama 55 dance crews must Strike the Concert.

 Page 19 of 80

 
Specifics to Consider: Club Shows 

There are various clubs on campus that put on different performances and productions. The main Drama clubs are
Spectrum Players and Masquerade Musical Theater Company.

● Club Shows are completely separate and independent from the Department of Drama and Dance and run
entirely by students. Consult current Department guidelines concerning student eligibility to participate.

● They are allowed to use Department rehearsal space but must be aware that all Department shows take
precedence and are not guaranteed a space. If a room is for some reason double booked with a Department
show it has a right to the space and the Club show must find an alternative rehearsal area.

● Club shows are primarily performed in the Spiegel Theater. They may choose to make other
accommodations with the University owned theatrical spaces. This decisions is up to the Director and
Producers of the piece.

● The Stage Manager for the Club Shows should preferably be secured the semester prior when the director
and piece are chosen.

● The Stage Manager should set a meeting with the producer of the Club that they are working with to
inquire about any specific details they need to know as soon as possible.

● Be aware, clubs often aren’t familiar with the duties of a stage manager or specific department rules; be
prepared to educate the producers in such cases.

Specifics to Consider: Student Repertory  

● The Production Stage Manager of the Student Rep traditionally also calls the MOVOM performance. He
or she is not involved in MOVOM rehearsals until their assigned tech slot.

● Depending on the number of shows in the rep and the number of Stage Managers in the department, the
Production Stage Manager may also act as the Stage Manager for one of the shows.

● The PSM should make an appointment with the Production Manager and Stage Management Advisor as
soon as they receive their assignment, so to review his or her specific duties, which may change depending
on the nature of the rep that season.

● The PSM will work with the Production Manager to create the production meeting schedule. The PSM
will also run production meetings.

● A typical Rep rehearsal schedule:

Meetings between the producer and director happen continually throughout the semester—it isn’t
usually expected that the SM be at these meetings.
A read-through at a time early in the semester that doesn’t conflict with nighttime rehearsals.
Some Director/Actor “character” meetings early in the going—especially with the producer and
 Page 20 of 80

the actors in primary roles. These are considered rehearsals and SM should be present.
Evening Rehearsals begin usually after the musical opens (or closes) in the fall (or the Shakespeare
opens or closes in the spring) depending on the Rep cast’s involvement in that show.
Evening rehearsals are 2-4 hours 3-5 nights a week. Usually not exceeding 20 rehearsals.

Rehearsal Schedules 

If it is possible, the Stage Manager and the Director should meet following the first read thru (once all conflicts
have been collected from the actors) to discuss the ​scheduling of rehearsals​. Some Directors prefer to create the
rehearsal schedule on their own, but others will collaborate with the Stage Manager. Ideally, the schedule should
cover the first rehearsal up until opening night.

The Stage Manager/Director should not specify what time the specific section or scene will end within the
rehearsal period, in case the Director runs late. ​The actors should assume that they may be in rehearsal until
11PM on any night, and until 12AM during Tech week rehearsals​. This should be announced to the cast at the
first read-thru.

The Stage Manager may wish to post a character-scene breakdown as well. This makes it easier for the actors to
see what rehearsals they are called for as well as when you are creating the schedule. The director may create and
provide a character-scene breakdown for the Stage Manager, but it is the Stage Manager’s responsibility to create
his or her own if not.

It is a courtesy for the Stage Manager to text or call the cast about rehearsal schedules and changes, but it should
not be expected by the cast. The cast should be informed of any changes in the rehearsal schedule 24 hours in
advance, (or by the end of rehearsal if it affects the next day.) Email is the most reliable way of communicating
with the cast. ​Email information, as it is the Drama major’s responsibility to check email at least once a day.
ALL POSTINGS MUST BE POSTED BY 12:00PM, OR ELSE THE CAST IS NOT REQUIRED TO
ABIDE BY THE INFORMATION.

Taping the Floor 

Not all productions require an elaborate set that needs to be taped out on the floor. If a set does need to be taped
out, this should be done in the first week of rehearsals. The Stage Manager should receive a copy of a
dimensioned ground plan and ​spike tape from the Set Designer or Technical Director. The Stage Manager
should ask the ASM(s) to help with the taping at a mutually agreed upon time before rehearsal. Different colors
of tape may be used to mark out different scene shifts, prop positions, and define the acting space and audience
seating areas. This process may take a significant amount of time and must be completed by the top of each
rehearsal. It is the Stage Manager’s responsibility to plan accordingly.

In many spaces you must remove the spike tape at the end of every rehearsal. Check with the Production
Manager (or in Adams Playhouse, the technical staff) before leaving tape down at the end of rehearsal.
 Page 21 of 80

Smoking On Stage 

If the design team in consultation with the Production Manager decides that there will be smoking in the show,
the Props Master must be notified immediately. The Stage Manager and Props Master with work with the
Production Manager to set the current productions smoking policy.

When there is smoking onstage, there must be containers/cans of sand offstage left and right, so that the cigarette
can be properly extinguished. The actor should not be “finishing” the cigarette backstage - it should be put out the
second he/she walks offstage. ​There should only be smoking in a costume on stage and in character. ​If the
actor needs to put out a cigarette onstage, the same rules apply - there must be at least one container with sand or
water onstage to extinguish the cigarette. If an ashtray is used, the Props crew should place a very wet paper
towel in the bottom before each performance. The TD should be informed immediately if smoking will be done
on stage so that he or she will be prepared should the Fire Marshall show up.

Fights and Using Prop Weapons 

Any fights, especially those involving actual weapons, should be choreographed and overseen by a ​trained
choreographer with the ​department’s explicit permission​. If at any time the Stage Manager feels the situation is
unsafe for any member of the cast or crew involved, he or she should communicate this to the director. The Stage
Manager should then speak with the Stage Management Advisor and the Department Movement Instructor about
how to handle the situation going forward. Any issues involving fights or weapons should be noted in the
rehearsal report.

If the production calls for guns, swords, pipes, chains, or any other weapons, the Stage Manager should make sure
that they are stored in a securely locked area. Although they are props, they may be harmful or fatal if they are not
treated with respect and care.

Consult with the Production Manager, Fight Choreographer, Department Movement Instructor to ensure safe and
proper handling of all weapons in a campus environment. Carelessness or improper procedure can result in issues
with Campus Public Safety, including confiscation of the weapon(s), citations, or disciplinary action for students
involved. The Stage Manager is responsible for all paperwork filed with both the department as well as the
school. The production manager can assist in determining the proper paperwork.

Warm-ups 

A member of the cast usually leads the predetermined warm up routine at the beginning of rehearsal. The routine
can take up to 15 minutes to complete. Some Directors prefer their cast to warm up before rehearsals start, while
others use the first 15 minutes of rehearsal for this purpose. The cast should be notified if they are expected to
show up already warmed up.

For a Musical production, the Musical director may warm-up the actors voices, through singing scales and
possibly by rehearsing songs for the show.

It is important that the whole cast participates in the warm-ups, and is quiet and focused. It is the duty of the Stage
Manager to ensure that all of the actors are able to concentrate, so that the rest of the rehearsal can run smoothly.
 Page 22 of 80

Breaks 

Stage Managers ​shall​ ​manage and call all breaks during rehearsal and performance.

The Drama & Dance Department uses ​Actors Equity Association break rules as guidelines for when breaks are
required. Stage Managers must give ​one 5 minute break every 55 minutes or ​one ​10 minute break every 80
minutes. ​Except in the case of a run-thru (see below), a rehearsal should not go more than 80 minutes without a
break. ​The Stage Manager should keep track of when the break begins and ends, and should record the times on
the ​Rehearsal Report​. The Stage Manager must end the break on time, and should announce when the break is
over to the Director, cast, and crew. The Stage Manager should confer with the Director as to their preferred
method of being warned about imminent breaks and make every effort to accommodate break requests that are
not in conflict with the guidelines set forth here.

There must be a break of at least 1 hour after 5 hours of rehearsal​. This should be scheduled ahead of time,
and in connection with the hours that the cafeterias on campus are open. Since the actors will be leaving the
rehearsal space for a longer time, the Stage Manager should remind them to return promptly.

Run-thru: In the case of an act or full length play that runs without intermission longer than 80 minutes; the 10
minute break, which would normally occur at 80 minutes, can be moved to the next available opportunity to
break, i.e. intermission or the end of the show, whichever applies. ​Note: ​A run-thru is defined as the continuous
run of an act or play without stopping. If a stoppage of a run-thru is required for directorial, technical and/or any
other adjustments then the regular break guidelines described above will apply.

Prompt Book 

The ​Prompt Book is often referred to as the Stage Manager’s Bible. It contains the script, rehearsal and
performance reports, contact sheets, Production Meeting Minutes, conflict sheets, and other collected pieces of
important information. The Prompt Book should be well organized and easy to understand, as the Director or a
Designer may want to refer to it, and the Assistant Stage Manager may need to use it in the absence of the Stage
Manager.

The Stage Manager should begin creating a Prompt Book in a large three ring binder. The Stage Manager will
receive a copy of the script and he/she can photocopy or scan it in the drama office. Stage Managers are allowed
and encouraged to use the department printer for anything ​directly related to a Department of Drama and
Dance production​. Ask the department secretary for help when needed. Each page, including the dialogue and
page numbers, should be centered on a white 8 ½”x11” piece of paper, so that for each page of dialogue there is
one piece of paper in the prompt book. This gives more room in the margins for the Stage Manager to write in the
blocking​, and it also leaves the back of each page blank for diagrams to be drawn, or lists of blocking moves to
be made. If the Stage Manager wants, he or she can request a smaller version of the groundplan from the Set
Designer, and can photocopy that onto the back of each page of dialogue, so that the blocking for each page can
be visibly indicated where it will occur in on the set.

The script should be put into the binder, separating the play by Acts or by scenes, depending upon how it is
written. Dividers can also be used to create sections for Schedules, Program, Production Meetings, Contacts, etc.
As the production process begins, the Stage Manager will be typing up a lot of information that is to be
distributed to the cast and to the Production Staff. The Stage Manager should date and keep the original copies of
every piece of paper. Consideration for musicals: you may prefer to use the piano score rather than the book.
make sure you print the appropriate pages for the book scenes, since the score may omit those.
 Page 23 of 80

Blocking 

The Stage Manager is responsible for recording the ​blocking and direction given to the actors and crew by the
Director in their Prompt Book. It is important that the Stage Manager writes clearly so that anyone referring to the
Prompt Book will be able to understand the blocking.

Different Stage Managers have different styles of blocking notation. The Stage Manager should find a style that is
most comfortable for him/her to follow and to be consistent with. Normally, the Director will tell the actor where
to move and will specify whether it is before, on or after a line. The Stage Manager should be prepared with a
good eraser, as some directors are often changing the blocking up through the Tech Week.

When recording blocking into a Prompt Book, the goal is to be as concise as possible, by using abbreviations and
symbols. Yet the blocking also needs to be understandable to anyone else reading it. For example:

1. Mary stands up, crosses downstage to Joe, kisses him on the cheek, then exits upstage left through the door.

OR

2. M , X DS 2 J, kiss cheek, XITS USL door.

Example 2 is obviously shorter than example 1, yet it should still be understandable to a person reading the script
and watching the actors. See Appendix B for the suggested blocking format.

Once the blocking has been set, it is up to the Stage Manager to correct the actors if they deviate from the
blocking. Unless the Director is changing the blocking in a scene, the actors should be following the blocking that
the Stage Manager has written down. The actors should also have their blocking written in their own scripts, and
should approach the Stage Manager with questions. S ​ ome directors do not set blocking until the 3rd of 4th week
of rehearsals, it is still helpful to write down the actors choices in case the director likes something and decides
to keep it.
Once the Director begins dealing with ​scene shifts​, the Stage Manager should be sure to record the movements of
set pieces and props into the Prompt Book. On many productions, the actors are used in scene shifts, sometimes in
character. Any scenery or prop movement by an actor should be written into their blocking.

Rehearsal Reports 

Rehearsal Reports​ are an essential form of communication between all of the Production Staff. It is also a way
to keep the Instructor of Drama 55 informed of how the production is coming along and of any problems that
he/she may need to address.

The layout of the rehearsal report is at the discretion of the Stage Manager, but is generally close to the layout
provided in the ​Stage Management Handbook (Daniel A. Ionnazzi). You can find a copy of Ionnazzi’s form as
well as a past Hofstra SM’s Rehearsal Report in Appendix B

Rehearsal Reports are only useful when they are filled out correctly and specifically. When the Director has a
question or a request from any of the production departments, the Stage Manager should clearly state the question
or request in the appropriate area on the report. The Stage Manager should be sure to indicate details such as size,
color, number, and if possible, how the request will be used in the context if the show, yet the Stage Manager
 Page 24 of 80

should also be concise when writing the information on the report. If the Director says that he/she needs an
answer to a question or a prop/sound/set piece, as soon as possible, it is important that the Stage Manager write
this, too. If the note will require a conservation, mention that it will be discussed at the production meeting or
that a specific meeting needs to be set up.

The following people should receive every rehearsal report:

● Production Manager
● Stage Management Advisor
● Director /Producer (ie. dance concert, Rachel List) Choreographer, Musical Director
● Set Designer
● Lighting Designer
● Costume Designer
● Sound Designer
● Technical Director
● Projections Designer (if applicable)
● Props Master
● Assistant Stage Managers
● Costume Shop Supervisor
● Instructor of Drama 55
● Any assistant to the above personnel
● Playhouse Staff (if applicable)
● Dramaturg

The Rehearsal Report should be written up following rehearsal or no later than the next morning. The report
should be emailed to all recipients, and a copy of it posted to any other file sharing method used, ie. Dropbox or
Google Drive. The Rehearsal Report should be a PDF Document.
Tracking: Props/Costume Changes/Sound Cues/Light Cues 

Throughout the process certain elements of the production will need to be tracked. These included but are not
always limited to, props, costume changes, sound cues, and lighting cues. The Stage Manager may wish to create
these lists themselves or assign an Assistant Stage Manager to handle some of them, if they have been proved
with one. It is important to note that any and all work you have your ASM should be thoroughly checked by the
Stage Manager before being given out to other members of the production team or cast.

As the blocking is being developed in rehearsal, you will need to keep a list of which actors may have ​quick
costume changes​. The list should also indicate where the actor is exiting and where he/she will be re-entering
after the ​quick change​. This list will help the Costume Designer greatly as he/she may need to create clothing
that can be taken off or put on in a matter of seconds. This list will also determine the number of ​dressers that are
necessary for the show, as well as when and where the ​dressers​ will need to be.

As you are keeping track of costume changes, you should also keep track of the movement of the props and
scenery for the running crew. An initial list should be reviewed by the director, then given to the Props Master
(or Set Designer) as soon as possible. This list should be updated as frequently as possible when new items are
added or changes occur.

The Stage Manager will also need to keep track of ​light and sound cues that the Director adds, outside of what
the script calls for. A list of all music and/or sound effects should be given to the Sound Designer relatively early,
so that he/she can begin to research and find exactly what the Director is looking for. The Stage Manager should
 Page 25 of 80

keep the Sound Designer updated on any new choices the Director has made.

The production team should be informed of all changes to these lists that occur during the rehearsal process by
means of the Rehearsal Report following each rehearsal.

After Rehearsal 

At the end of each rehearsal, the Stage Manager should make sure that he/she leaves the space in its original
condition. All cast and ASMs should help with this. This means that:

● All furniture and props should be removed from the stage and locked up properly, or put neatly away
in the designated areas (ask TD if in performance space.)
● All desks, chairs and/or chalkboards should be returned to their original positions - remember: many
rehearsal spaces are also classrooms! This includes the Black Box.
● All windows should be closed and the Air Conditioner should either be turned off or set to a
comfortable temperature.
● All food/drinks should be removed from the space; any messes made should be thoroughly cleaned up.
● All lights should be turned off; all inner doors should be shut (and locked if necessary.)

Public Safety 

Before leaving rehearsal in any rehearsal space, the Stage Manager must call ​Public Safety to tell them that the
production is finished with that space for the night.

Public Safety may also need to be called to open the rehearsal space on the weekend when there are no Faculty
members present in the building. They will ask to see a Hofstra ID and may ask what will be going on in the
space. The Stage Manager should be aware that it can take anywhere between five to twenty minutes for a Public
Safety officer to arrive and open a building or room. The Stage Manager should plan accordingly for this. If you
are working at the Spiegel Theater, you may want to ask them to open Mason Hall to provide bathrooms close to
the rehearsal space.

It is a University policy that only a Public Safety Officer may administer First Aid in any form (this even
applies to Band-Aids.) Therefore, if an actor or crew member has a mild injury, or if they need serious medical
attention, Public Safety must be called.

*Note: In the Dance Department, injuries are more prevalent. This is why the University allows for ice
packs to be provided by the Head of the Dance Program. However, the dancers must apply the ice pack to
their bodies themselves.

Assistant Stage Managers 

For Departmental shows, each Stage Manager is to be assigned an Assistant Stage Manager(s) by the Instructor
of Drama 55. Student Repertory productions have Stage Managers working under a Production Stage Manager,
but do not have Assistant Stage Managers. For club shows, (Spectrum and Masquerade), the Director usually
finds his/her own Stage Manager, and he/she is responsible for finding his or her own assistant(s). Some Stage
Managers utilize their assistants more than others do, depending on individual style and experience. Most ASMs
are encouraged to be a part of the rehearsal process - by watching the Stage Manager and Director interact, the
 Page 26 of 80

ASM will learn what it takes to be a Stage Manager and will hopefully be prepared to take on that role the next
semester. The Stage Manager should try as much as possible to keep communication open with his/her
assistant(s), by answering questions and demonstrating/explaining certain elements of the job. Of course, the only
way for anyone to fully understand the position of a Stage Manager is for that person to go through the
experience.

The Stage Manager should make an effort to meet with all of his or her Assistant Stage Managers before the first
rehearsal to explain their duties and responsibilities.

The specific responsibilities for each ASM will vary with each production, but the most common jobs delegated
by SMs to ASMs during the rehearsal process may include but are not limited to:

● Preparing the rehearsal space by sweeping/mopping the floor /assisting taping of set
● Setting up furniture and coordinating props
● Making necessary phone calls to late actors/crew members
● Recording the movement and shifting of scenery, props, and costumes by actors, and determining
which scene changes will require running crew members
● Moving scenery and props in absence of running crew
● Obtaining and running of music/sound equipment (if applicable)
● Holding book for the actors - giving a line when it is called for
● Taking the place of an absent actor by reading his/her lines, and/or walking his/her blocking onstage

As Tech Week begins, the ASM will become more and more valuable, he/she will be in charge of the running
crew. Normally the ASM consults with the Stage Manager in assigning jobs to the running crew, for pre-show,
performance, and clean-up. This should be done as early as possible, preferably before tech week begins. The
Stage Manager or his/her assistant should type up ​Run Sheets ​for the crew members, which are lists of the preset
assignments, scene shift/prop run assignments (and where they happen in the show), and post-show clean-up
assignments. There may be additional jobs or scene shifts that are not discovered until Tech week begins, and
these should be added to the Run Sheets. The ASM will also be responsible for handling all props, including their
preset, usage, maintenance, and storage. The SM should create all show tracks with assistance from the ASMs,
especially for more complicated shows.

As the SM will most likely be calling the show from the ​control booth​, the ASM should ideally be able to
communicate with the Stage Manager during the show. For shows that are performed in the Playhouse, it is often
best for there to be two ASMs, one for each side of the stage. (If this is not the case, a running crew member
should be assigned the task of sitting on headset stage right, as the ASM should be stage left, closest to the stage
door.) Therefore a headset should be set up backstage for the ASMs. He/she should be on headset at all times,
and should inform the SM when he/she will be off headset, as well as when they get back on. The Playhouse has
wireless headset available for use if an ASM would be required leave his or her post regularly. The SM may need
to give cues to actors or crew members through the ASM, and the ASM may need to report problems or injuries
to the SM. If you have the headsets, use them. Other people that should be on headset are board ops and spot ops
and any run crew member that needs cueing.
Program Information 

Each Stage Manager will receive information from the Director of Publicity, covering guidelines and deadlines
for all publicity and program needs. The Stage Manager is responsible for collecting, verifying and typing up all
of the requested program information, including bios. He or she then should pass along the information to his or
her contact on the Publicity Crew. The Stage Manager will receive a proof copy of the program from Publicity to
be reviewed, usually the week before Tech Week. The Director, cast, and crew should review the program copy
 Page 27 of 80

before it is returned to Publicity, to double check the spelling of their names.

The Stage Manager should consult with the Director of Publicity for the current policy and format for program
information, including any word limits for the bios or director’s notes. If the Stage Manager has questions or
concerns regarding the program, he/she should contact the Director of Publicity as soon as possible.

Symposium

For each of the mainstage departmental productions, the subscribers and students are invited to a ​Symposium
about the show. The Chair of the Department arranges the dates and times for each one and includes them on the
semester calendar. They are typically held on the Wednesday after the production is performed, during Common
Hour. The Department may add symposia as it feels the production warrants

The Department Chair opens the Symposium and introduces the Director. Normally the Director speaks about the
content of the play and about the playwright’s style. He or she briefly discusses his or her concept and introduces
the cast and production team. The Designers and Production Staff are invited to speak and show renderings and/or
models. There may also be a guest artist, professor, dramaturg or scholar who comes to speak about the history of
the time period, the play, or the playwright.

The Stage Manager should inform and remind the Production Staff and the cast of the date, time and location for
the Symposium.

Complimentary Tickets 

The Stage Manager should consult the box office for current ticket purchasing policies.

Every student on campus receives two free tickets with their Hofstra ID. Each student working on a show
receives at least one “comp” ticket. The policy for comps changes for each production. It is up to the Stage
Manager to clarify the policy for his or own show and pass that information along to the cast, crew, and
production team. Students involved in the Faculty Dance Concert normally receive at least four “comps.” Check
with the Box Office for the number of “comp” tickets provided to each student.

Communicating with the Technical Director & Designers 

The Stage Manager should be in constant contact with the ​Technical Director (TD)​. In addition to sending him
or her copies of the Rehearsal Reports, the Stage Manager should try to contact the TD on a regular basis to
follow up on any rehearsal notes that cannot wait for a Production Meeting to be addressed. If the Stage Manager
discovers that there will be unusual blocking or usage of scenery, he/she should inform the TD, as this may have
change how something is built.

As the production gets closer to Tech Week, ​the Stage Manager must find out from the TD what pieces can
and cannot be used in rehearsal, and other safety situations present in the performing space prior to their
use​. The Stage Manager should never assume that because a piece of scenery has been constructed and is present
in the space that it is safe enough for the actors to walk/stand/jump/run on. Communicating with the TD will
prevent accidents and broken scenery/actors. ​If the Stage Manager observes any safety concerns during
 Page 28 of 80

rehearsals, he/she needs to bring it to the TD’s attention.

The Stage Manager should also stay in close contact with the ​Costume Designer and ​Props Master for similar
reasons. The costume designer will let the Stage Manager know as soon as rehearsal costumes (e.g. a rehearsal
corset or skirt) or shoes are available for use. In many cases borrowed costume pieces must be returned to the
costume shop at the end of every rehearsal. The Stage Manager should receive a confirmation from the Costume
Designer/Props Master before using any rehearsal props or costumes.

Running Crew: Information, Run-thru, and Tech Week 

As the Stage Manager or ASM is tracking scenery and props throughout the rehearsal process, he or she is also
preparing for the addition of the ​running crew​, who is added during the Tech Week Process.

Running crew members are required to show up when they are called by the Stage Manager to preset the show,
and are expected to stay until all of the props, furniture, set pieces, and costumes are put away. ​Any lateness will
be made up on an individual basis at the discretion of the Stage Manager and the Instructor of Drama 55.
In the event that there is only one ASM assigned to the production, one member of the running crew may be
designated as ​Crew Chief​. This person will work closely with the Stage Management team and the TD to ensure
that the crew is aware of and fully understands their jobs and any safety issues. The Crew Chief may be put in
charge of one side of the stage, and possibly on headset, while the ASM is charge of the other. The Crew Chief
may also be responsible for bringing concerns from the crew to the Stage Manager and the TD.

Members of the running crew are required for Drama 55 to be present for at least one rehearsal prior to Tech
Week. This rehearsal is ideally a full run thru of the show for the running crew to watch, so that they will have an
understanding of how the production works before they begin to work on it.
Tech Week, especially the first two days, is the time for the running crew to learn what their responsibilities are.
The actors have had weeks of rehearsal process to learn their lines, characterization and blocking, while the
running crew only has a few days to learn what their jobs are, and when they have to be done. ​It is important
that everyone understands this and that no one presumes that the rest of the tech staff, the actors or the
director expect them to be perfect.​ If the running crew is confused about a scene shift, they should stop the
rehearsal and inform the Stage Manager. The Designers, TD, and the Director are all present at all of the Tech
rehearsals, and can answer any questions or problems that need to be addressed. The Stage Manager should have
glow tape and spike tape on hand so that the running crew and the actors, can see where furniture, props, and
scenery pieces are moving to clearly.

Following the completion of a production the Stage Manager must give a crew attendance report to the Instructor
of Drama 55. The report must include any and all absences and latenesses.
 Page 29 of 80

 
TECH WEEK 
 
Tech Week Schedule 

In consultation with the TD, and the Director, the Stage Manager should make up a Tech Schedule to discuss no
later than one week prior to the beginning of technical rehearsals. The basic structure for the schedule is the same
for most shows, but the specifics will vary, as the needs for each show are different. It is departmental policy that
students must be released from all Tech rehearsals be no later than 12:00am. To allow for this, 11:00 pm should
be the stopping point for rehearsals, and the last hour should be used for cleanup and notes.

The ​call times will be different for each show, depending on how much time the actors need to warm up, and how
much time the running crew needs to prepare the space for the rehearsal/performance.

The first two days of Tech (Saturday & Sunday), will also be a little different. The call times will differ with the
needs of each production. For example, there may be a need for a ​sound check with the actors before the Tech
begins on Saturday. Any of these additional call times should be discussed at the Production Meeting and added
to the Tech Schedule. The start time of Sunday’s rehearsal should be set, but the Stage Manager should be aware
that exact call times for the cast will be subject to change depending on how the first day of Tech goes. The Stage
Manager may want time to work with the run crew before actors are called, or give time for the technical director
to work on an issue that came up the day before.

As soon as the Tech Schedule has been made, it should be distributed to everyone on the Production Staff, in the
cast and crew, and (if applicable) the Playhouse shop staff. The Stage Manager and the ASMs should plan on
arriving ten to fifteen minutes before the actors or crew members are called, to unlock the dressing rooms, the
control booth, and the prop closet(s). The Stage Manager should inform the TD or the Playhouse staff of what
time he/she will be arriving so that he/she can get into the building.

A standard Tech Weekend schedule is usually referred to a ​Ten out of Twelve​, that is, a twelve hour day with 2
one hour breaks. Hofstra adheres to a policy based on ​Actor’s Equity Association Break Policy. There must be a
lunch break and a dinner break, each one hour in length, after no more that five hours. The Stage Manager should
use his or her discretion throughout the day, making sure that actors, crew members and Designers are all given
ample breaks. Breaks should not go longer than 10 minutes, and the Stage Manager should announce when they
are over, asking the everyone to re-enter the theater and prepare to continue from where they stopped. ​The Stage
Manager should make sure that he or she takes breaks as well - it is not always easy, when there are notes to
give out or cues to fix in the prompt book, but it is very necessary for the Stage Manager to take at least five
minutes here and there to relax and focus. It will make a difference in the way the Tech is running, if the person in
charge has a chance to take a deep breath and release their tensions.

Sign-In Sheets  

Beginning the first day of Tech Week, the actors and the crew members will need to ​sign-in when they arrive to
the rehearsal. The actors should come into the building, and immediately sign-in and place their belongings in
their respective dressing rooms. This will help the Stage Manager in identifying who has and has not arrived, and
who needs to be called. The running crew should also sign-in to let the Stage Manager know they are present, as
they may be busy starting their presets, sweeping the stage, etc. It is also a good record for the Instructor of
 Page 30 of 80

Drama 55 who will need proof that the crew has completed their hours. ​Everyone must sign-in by their call
time. If they do not, they will be considered late, and the Stage Manager should note this on the
Performance Report.

When working on a show with an extremely large cast, (i.e., Shakespeare Festival, Dance Concert) it is a good
idea to have an ASM monitor the sign-in sheet, and report to the stage Manager when there are cast members late
or missing. At the end of the production, all sign-in sheets are to be turned in to the Instructor of Drama 55. They
can be scanned and emailed, or stapled and put in his or her mailbox in the drama office.

Collecting Valuables 

To prevent theft, loss or damage of personal belongings, the Stage Manager must offer to ​collect valuables​ from
the actors. The best way to prevent any of these from happening is for the cast to leave any valuables at home,
this should be explained to them prior to the first Tech Rehearsal. If they choose to bring valuables to the theatre,
the Stage Manager should prepare a bag or a box to put the valuables in. Starting the first day of Tech, the Stage
Manager will announce to the cast that when the “half hour” call is given, the Stage Manager will also collect
valuables at that time. The valuables should be kept with the Stage Manager in the control booth. At the end of
the night, or after the performance, the Stage Manager should return the valuables to the actors. Actors are not
required to give their valuables to the Stage Manager, but are encouraged to do so.

Dressing Room Assignments 

Prior to the first day of Tech week, the Stage Manager will be responsible for ​assigning dressing rooms to the
actors and costumed running crew members (if applicable) in the show. The Stage Manager should confer with
the ​Costume Designer to see if he/she has a preference as to where actors are placed, either for spatial reasons or
because certain actors may need to share costume pieces. If the Costume Designer has no opinion then it is up to
the Stage Manager to decide and post the assignments on the doors. Guest Artists should be placed in their own
private dressing room. By the time the Stage Manager will need to decide who is going where, he or she should
have a pretty good understanding of the cast members, and how compatible they are with one another. If an actor
should have a dilemma regarding their dressing room assignment, they should bring it to your attention as soon as
possible to see if adjustments can be made. ​A copy of the assignments should also be given to the Costume
Designer so that he or she knows where to bring which costumes.

Traditionally when working in the Playhouse, the Senior cast members (and after them the Juniors) are given the
smaller, private dressing rooms, and the rest of the cast members are placed in the larger, choral dressing room.
The Stage Manager should assign no more than three people to each of the smaller rooms, and they should put a
sign on each door listing who has been assigned to that room.

The cast of the Companion Piece during the Shakespeare Festival is automatically assigned to share the choral
dressing rooms with whoever is using them for the Shakespeare production.

The Black Box Theater has two choral dressing rooms, generally divided by male and female cast members. Both
dressing rooms have access to full bathrooms.

There are no dressing rooms for the Spiegel Theater. However, there are restrooms located in Mason Hall, across
from the stage door of the theater. Requests can also be made to use classrooms in Mason Hall, consult with the
Production Manager as to how this can be done. The actors can prepare in there for the show, but they should be
reminded that audience members also use those restrooms. Occasionally, classrooms can be acquired to use as
 Page 31 of 80

Dressing Rooms. Signs should be clearly posted giving directions to these classrooms as all members of the cast
and crew may not be familiar with them.

The Stage Manager should remind the actors before the first dress rehearsal that they will be responsible for
hanging up their own costumes, as well as cleaning up any mess that may have been made on the counters, the
floor, etc. ​Cast members should not leave valuables, personal property, or food in the dressing rooms.

The Stage Manager may need to monitor the noise and activity level of the dressing rooms. Especially if the cast
members have conflicting feelings on what the dressing room atmosphere should be like. As the Dressing Rooms
and Green Room are in close proximity to the stage and the audience, the Stage Manager should make certain that
the actors voices are not so loud that they are being heard.
Tech Week  

As Tech Weekend begins, the Stage Manager must realize that it is now his/her show! He/she should not expect
the Director or TD to run the Tech and/or give directions to the cast/crew. ​The Stage Manager must take
control of every aspect of the production​.
The entire Production Staff, cast, and crew should hear, and respond to the Stage Manager’s voice at all times. If
the Stage Manager takes on the necessary authority from the beginning of the first day of Tech, the rest of the
week will run smoothly, and everyone involved in the production will respect him/her.

The Lighting Designer, TD, Master Electrician and the Stage Manager should meet sometime prior to Tech for a
Paper Tech​. This means that the Lighting Designer and the Sound Designer will go over the light and sound cues
he/she has written for each act so that the Stage Manager can place them in the appropriate spots in their Prompt
Book. This should always be done in pencil! More than likely, there will be cues that are cut, rearranged, added or
moved as all of the technical elements are being added to the show. The Lighting Designer and Sound Designer
may also have questions for the Stage Manager regarding blocking and/or scene shifts.

The Lighting Designer and the Stage Manager should sit at the “tech table,” a table set-up in the house with the
light board, monitor, and paperwork during Tech.

The ASMs should arrive before the running crew to help the Stage Manager set up. The Stage Manager or the
ASM should also post the ​running order of the show (a list of all the scenes in the show from first to last)
backstage (right and left), and in the Greenroom. The Stage Manager should also make sure that there are running
lights backstage for the actors and crew, as well as glow tape on dangerous corners and scenery pieces. A faculty
member (or in the Adams Playhouse, the in-house staff) will familiarize the Stage Manager and Assistant Stage
Managers with any equipment they will be using (video monitors, intercoms, light switches, etc).

The crew should be called in before the actors during Tech Weekend, as they will need to receive their run sheets
and learn where props and scenery pieces are being set up/stored. The ASMs should assist the Stage Manager in
showing the crew the ropes of the production. The running crew should begin setting up the props and furniture
for the top of the show - this is also called the ​preset.

As the actors begin to arrive, the Stage Manager should remind them to go directly to the dressing rooms where
they can leave their belongings. After signing-in, the cast should return to the stage immediately for the beginning
of warm ups. The Director and the Stage Manager may want to speak to the cast about the Tech procedure or
he/she may have notes to give specific actors, and this might be an opportune time to do so.

If the sound design incorporates the use of microphones or musical instruments, the Sound Designer will need to
do a ​sound check and/or set levels with the actors that are singing or speaking through the microphones or over
 Page 32 of 80

taped music/sound effects.

When the Lighting Designer, the Director, the cast and the crew are ready to begin, ​the Technical Director may
want to preface the start of the Tech with a speech about safety precautions. He/she should explain to
everyone that ​the Stage Manager is in charge of running the Tech. Therefore, the actors and crew members
should be listening for his/her voice for the words “Go,” “stop,” “hold,” or “freeze.” If the Director or a Designer
wants to stop the tech to fix a cue or to adjust the placement of a piece of scenery or an actor, he/she needs to tell
the Stage Manager to hold the actors. In the event of a safety issue or concern, anyone is permitted to stop the
Tech.

There may be a “God mic” setup for the Stage Manager at the tech table, so that the actors and crew can hear the
calls clearly. If there is no God mic, he/she will need to use a loud, clear voice when addressing the cast or crew.
It is important that actors freeze wherever they are asked to, and that they remain quiet while the Production Staff
is working. If the cast begins to get loud, the Stage Manager should address the cast with phrases such as “​quiet
onstage please​,” “​focus please​,” or “​freeze please​,” in a firm tone of voice.

The Stage Manager or ASM should have rolls of ​spike tape and ​glow tape on hand in order to mark the positions
of the scenery and furniture. If the cast or crew feels that there are areas of the stage or backstage that are too dark
or unsafe, the ASM should put glow tape in those areas as soon as possible. The TD should also be consulted
about the possibility of putting clip lights in those areas.

There are three general ways to go about the tech of the show:

Dry Tech

Performing and calling all cues and technical elements of the show in order using the crew and without
actors.

Cue-to-Cue

The Stage Manager should begin by calling the cues as the Lighting Designer and Sound Designer have
written them and should stop the actors on stage as soon as the lights or sound on stage have been
established. He or she should call “​Hold on stage please​,” and find the place in the script where the next
light or sound cue comes up. The Stage Manager should give the actors a line to begin from, which should
be a few lines before the next cue. After the cue is executed, the Stage Manager should hold the actors
again and repeat the process until all of the cues have been addressed.

Run Through

The Stage Manager should begin the same way as in a Cue-to-Cue, but should not stop the actors until
there are questions or problems. ​Yet, if the Tech is in a run-through mode, and time is running short,
the Stage Manager should talk to the LD, SD, and the Director about switching into a cue-to-cue
mode​. This is to ensure that all of the technical elements of the show are addressed before the first
Dress/Tech Rehearsal.

At the end of the day, the actors should be reminded of the next day’s call time, and may be given some notes
from the Director. The running crew and the ASM should begin to clean-up the space and put away the props.
The rest of the Production Staff should begin a ​mini-Production Meeting​, by going around to every department
and addressing all questions or concerns. (Minutes do not need to be taken and distributed.) The meeting should
 Page 33 of 80

end with a discussion of the schedule for the next day. There may be a need for the next morning to be spent
fixing technical problems, placement of cues, or scene shifts. ​Mornings should be scheduled on a priority
basis​.

As always, the Stage Manager should follow all of the closing procedures of the building (this may include
calling Public Safety). The Stage Manager should check with the Playhouse staff before leaving to see if they
have any notes for the Stage Manager.

The second day of tech week should follow the same pattern as the first day.

First Dress (Tech Week Day Three) 

The Stage Manager should ask the ​Costume Designer how much time he or she will need with the actors before
the first Dress Rehearsal. If there are a lot of complicated costumes, the actors may need to be called in earlier
than normal (this should be discussed when setting up the Tech Schedule). The Costume Designer should also
specify when the actors should start wearing their make-up, as this may also take some instructional time.

When the actors arrive, they should sign-in, and immediately begin rehearsal as instructed. The Director may
have notes that were not given from the night before or he may want to talk to the cast in general. The Stage
Manager should make certain that the cast has enough time to get into costume and makeup, even if this means
asking the Director to finish their notes at a later point in the night. Questions regarding costumes and makeup
should be addressed to the Costume Designer.

The Stage Manager should give the ​half-hour, fifteen, ten, and five minutes to places calls, and should then
give the actors their “places” calls​. (This may also be done by the ASM, especially when working in the
Playhouse.) In general, “​places​” means five minutes before the “Go” or “curtain time.” This is so that all actors
and crew members will be ready and in place on time. The running crew, Production Staff and the Director
should also be made aware of the calls, and should be present in the theater before the start of the run through.
The Stage Manager will call the show from the ​tech table or control booth​, with the ​light board operator and
the ​sound operator​. He/she should be in communication with the ASM to confirm that everything is set
backstage, before starting.

If there are any major technical or actor related problems, the Stage Manager should stop the rehearsal and
address the situation. There may also be costume problems and “quick-change” dilemmas that will need to be
taken care of and in some cases rehearsed. Most likely, the TD or the Lighting Designer will have a headset in
the house, so that he/she can also ask the Stage Manager to hold the rehearsal if he foresees a problem that will
need to be fixed. As with Tech Weekend, if there is a dangerous or unsafe situation on stage, anyone has the right
to stop the rehearsal.

The show should run as it would in performance, breaking for intermissions and calling places at the top of each
Act. The Stage Manager should continue to fill out Rehearsal Reports, keeping an accurate timing of the show,
and noting any problems that occur.

After the rehearsal, the same notes, clean up, and lock up and procedures should be followed as during Tech
Weekend.

The rest of the Dress/Tech Rehearsals are run the same way, as all of the final technical bugs are worked out, and
the production prepares for opening night!
 Page 34 of 80

Writing Cues in the Prompt Book 

Every Stage Manager has their own process of putting the cues into their Prompt Book. Some prefer to write out
the cue numbers and their placement on paper first, and then transfer it into their script when they know all of the
cues have been completed. Others immediately write the cue numbers in where they are supposed to go during
the Paper Tech. Each Stage Manager creates a formula that works the best for them, which may include color
coding, numbers, letters, symbols, and abbreviations.

Before the first full run through or the first Dress/Tech rehearsal, all of the cues should be written in the Prompt
book, along with ​Warning and ​Standby cues. This will make calling the entire show for the first time a lot easier
for the Stage Manager as well as for the crew who is hearing the show being called for the first time. Precision
and organization is vital when writing all cues into the Prompt Book. It is important for the Stage Manager to
keep in mind the fact that their Prompt Script must be organized enough that someone else would be able to call
the show if necessary. See Appendix B for examples of Writing Cues.

Once all of the cues have been written in the Prompt Book, the Stage Manager may choose to highlight or color
code each cue so that they are easier to recognize and call. Generally speaking, it is not always necessary to give
Warning ​cues, unless there is an extremely long period of time between cues for the board operator to get
distracted and possibly forget that a cue is coming.

Headset Etiquette 

It is imperative that a standard of professionalism is introduced and maintained by the Stage Manager when on
headset. ​The headset should only be used for direct and relevant communication about the production.
When the Stage Manager is calling a ​Warning​, ​Standby​, or a ​Go​, there must be silence on the line, or cans as
they are commonly referred to, to ensure that the call is heard and can be executed on time. The only person who
is allowed to say “Go” on headset should be the Stage Manager, as it can become confusing for a board operator
to hear the word and not know if it was a call for them or not. There is a theatrical convention that if people other
than the Stage Manager on headset need to say “Go,” the Stage Manager should establish an alternate word, such
as “Fish.” ​Headsets are monitored by faculty and/or facility staff members at all dress rehearsals and
performances.

Public Relations/Publicity Photos 

A member of ​The Chronicle​, the University newspaper, may want to attend a Dress/Tech rehearsal in order to
write a review of the production. He or she may also want to take photos to go with the article. ​Arrangements
for this must be made ahead of time, and the Director must approve of the date and time that he or she will
be coming. If this is not done, and a reviewer should walk into a rehearsal, the Stage Manager has every right to
ask the person to leave.

Other local newspapers or media sources may take an interest in the production, and may want to interview the
Director and/or members of the cast and Production Staff. They may also want to take photos of specific scenes
or characters. All of these arrangements should be made through the Director of Publicity.

The Stage Manager, in consultation with the Director, should arrange a publicity photo shoot with the Head of
Publicity before Tech Week.
Per equity rules Cast must be notified at least 24 hours in advance of any photographer coming to
rehearsal, dress, or a performance.
 Page 35 of 80

PERFORMANCE

Visitor Policy 

During the run of the show, there may be people – friends, family, audience members – that want to visit with the
actors or running crew members. It is the duty of the Stage Manager to police this and post a sign stating, “​Only
members of the cast and crew are allowed past this point​.” If a member of the cast has a gift, the Stage
Manager, ASM or an usher can take flowers, presents or messages down to the actors.

This policy should be explained to the actors and crew as well, so that they will not tell their family and friends to
come early and visit. ​It is important to enforce this policy for safety and security reasons, as well as for the
privacy of the actors.

Departmental Traditions 
 
Poo-Wah-Bahs​ are a chance for the actors, directors, and stage managers to connect with one another and and
reflect on the entire production process together. The cast and Stage Management team gather together in the
Green Room or a dressing room at half-hour call. The Stage Manager should create the Poo-Wah-Bah list and
post it ahead of time. The list should begin with Freshman and work up to Seniors. Within each class, the first
person to give their Poo-wah-bah should be the person who has been in the least number of departmental
productions. Unless you have an extremely small cast, there will usually be more than one company member
giving “their Poo-Wah-Bah” each night.

When it is his or her turn, the chosen company member has the chance to address the cast and stage managers as a
whole, and chooses a word or phrase that reflects and represents their feelings about the production. This can be a
line from the show, something that came up during rehearsal, or anything else they would like. Following each
individual’s Poo-Wah-Bah, the rest of the cast repeats the chosen word or phrase.

After all of the words and/or phrases for the day have been said, the group decides on an ​odd​ number of times to
repeat the word “Poo-wah-bah.” The group huddles together putting one hand each in the center, and then repeats,
in unison, the word “Poo-wah-bah,” followed by the list of words chosen for that day.

Directors are invited to Poo-wah-bahs as well. Some enjoy coming to all, others only for the last night. Tradition
holds that the director(s) give his or her own Poo-wah-bahs on closing night.
The Ringing of the Shakespeare Bell 

As a tradition of the Shakespeare Festival, every Senior Drama major is given the opportunity to ring the Bell,
which is located backstage in the Playhouse next to the Stage Manager’s desk. The bell is rung three times each
night. Bell should be rung right before the Stage Manager starts the show (after places, before the first cue). If a
cast member is in the first scene of the show and would like to ring the bell, he or she should ask to be the first to
ring, and then return to places as quickly as possible. If there are less than three students signed up to ring the
bell, the Stage Manager should inform the Playhouse staff, and one of them will ring the bell in place of a student.

The Stage Manager should draw up a signup sheet and hang it in the drama & dance lounge. It is the duty of the
Stage Manager or an ASM to retrieve the list each night and return it at the end of the night. Those ringing each
night should be asked to arrive 5-10 minutes before curtain.
 Page 36 of 80

Calling the Show 

Prior to the House opening the Stage Manager should double check the conditions of the backstage: Are the work
lights out? Is the shop door closed? Is the Stage Door closed? Are the running lights on? Are the “grid lights” off?
Perform a "Blackout" check. Is everything in place?

Once “Places” has been called, the Stage Manager should contact the ​House Manager​. The House Manager,
who is responsible for being aware of the status of the house, releases the house to the Stage Manager, who is
then starts the production at his or her discretion. In the meantime, the Stage Manager should check-in with all of
the crew members on headset by calling off their names and waiting for a response.

Once the Stage Manager receives a call or message confirming house is ready for show start from House
Management, he/she should confirm with the ASM that all of the actors and crew members are in places and are
ready to go. Beginning by putting the first set of cues in a standby, the Stage Manager has started calling the
show. The Stage Manager may want the crew to respond to all of their calls, or only to specific ones. Responses
should be said as follows: ​warned, standing, complete. The board operator may also respond with a simple
“lights” or “sound”. This is up to the discretion of the Stage Manager. As the cues continue to be called and
executed, the Stage Manager should make note on the ​Performance Report of any late or problematic cues so
they can be fixed for the next performance.

Talkbacks

A talkback may be scheduled after a performance. Talkbacks should be organized by the Stage Manager and
moderated by either the Director or Producer. Stage Managers should arrange for a microphone to be passed to
audience members by a run crew member if needed. The standard talkback lasts approximately 30 minutes and
should be no longer than 45 minutes.

Performance Reports 

Just as written Rehearsal Reports are vital to the production process, accurate and complete ​Performance
Reports are necessary for the run of the show. (During the run of the Student Rep, the PAM will complete a
report for each evening after getting input from individual Sm’s) If a piece of scenery breaks, a lamp goes out, or
a prop disappears, the Technical Director and the rest of the team needs to be informed promptly. It is the Stage
Manager’s responsibility to follow up on any problems that arise during the performance and ensure they are
solved before the next performance. If there is a problem that needs to be addressed, the Stage Manager is
responsible for making sure a solution has been found and following up to ensure that the problem has been
solved.

There is a form found in the ​Stage Management Handbook​ (Daniel Ionazzi) which is suggested by the
department, however the Stage Manager may create their own form, as long as it contains the same sections for
information as the example in the Appendix.

A copy of the Performance Report should always go to the same people who received Rehearsal Reports as
soon as possible following the end of the performance.
 Page 37 of 80

Photo Call 

The Managing Director will hire an archive photographer to shoot a photocall. This will typically take place after
the first Sunday matinee. The touring show will need to schedule a time in consultation with the Managing
Director. The Managing Director will provide contact information for the photographer to the Stage Manager.
The Stage Manager should contact the photographer 1 week prior to the scheduled call to introduce themselves
and verify the scheduled time. ​The photo call duration will be one hour.​ The Director will make an ordered
list of requested shots to be taken. The Stage Manager will verify that the number of shots requested can be
accomplished in the allotted hour, negotiating changes with the Director if necessary. ​The final list should be
posted to the company at least 24 hours in advance of the call.​ The Stage Manager, ASMs, light board
operator, and the running crews should all be aware of the order and what lights, sets, and props will be needed on
stage for each picture, as they will be creating each look during the shoot. The shots are typically taken in reverse
order of the show, but the Stage Manager will ultimately determine the most efficient use of time. The Stage
Manager will oversee and orchestrate the the photo call and should be with the photographer and director during
and not in the booth. ​The Stage Manager must inform the Box Office Staff, the Playhouse Staff (if in
Playhouse), the Director, the Cast, the Crew, and the Faculty “sitters” of the date at least 1 week prior to
the Photocall date.
 
 Page 38 of 80

 
POST-PRODUCTION 
Strike 

After the final performance of the show, all of the production elements will need to be taken down, destroyed, put
away, or cleaned up. This process of returning the performance space back to its original condition is called
strike​.

There will be members of the cast and crew that are responsible for staying to participate in the strike, and there
will also be students from Drama 55 that are required to show up in order to complete their hours. The Stage
Manager should consult with the Instructor of Drama 55 before Strike to compile a list for Strike Crews.

The Stage Manager should have one crew sign in sheet and one crew sign out sheet. These sheets should be
closely monitored by the Stage Manager to ensure that an accurate record of who was at strike is kept. These sign
in and sign out sheets will be turned in to the Instructor of Drama 55.

The Strike Crews should look to the TD for jobs. The Stage Manager and ASMs should oversee all of the work
and crews.

Strike Food 

The Stage Manager’s other responsibility during strike, is to get and set up the ​strike food​. Those who worked on
the strike of the show are fed after the work has been completed. The Stage Manager should get petty cash
money from the Drama Department Secretary at least 1 week prior to Strike. The strike food receipts should be
turned in to the Drama Department Secretary immediately following Strike.

The Stage Manager should consult with the Department Secretary on food ordering procedure.. (Note: ​Pizza
Equation: Number of people attending strike [include the number of people in the costume shop] divided by 4)
Then add two or three extra pizza’s just to be safe. The ratio should be 75% cheese, 15% pepperoni, then 10%
veggie. Also get a few sodas. Then, the Stage Manager should consult with the TD during Strike to decide when
the Food and drinks should be picked up. The food and drinks are usually set up in the Green Room. Only after
the TD is completely finished with Strike are people allowed to partake in the concessions. The Stage Manager
should be sure to inform the Costume Crew, who will be working elsewhere from the rest of the crew, when
strike food will be served. The remaining food should either be thrown away or given away.

 
 
 
 Page 39 of 80

CONCLUSION 

A first-time Stage Manager might be overwhelmed after only glancing through this handbook, and seeing the
pages of responsibilities and situations that they may encounter with this job. Stage Managers should rest assured
that all responsibilities can be dealt with one step at a time. Working as a Stage Manager is extremely exciting
and rewarding. One of the best things about Hofstra is the community of past and present Stage Managers that
can provide a wealth of knowledge. A Stage Manager should always address questions or confirm policies with
the Stage Management Advisor.

The following is a list of recommended books on Stage Management:

Baker, Hendrik. ​Stage Management and Theatrecraft: A Stage Manager's Handbook​. London: Miller, 1981.
Dean, Peter. ​Production Management: Making Shows Happen​. Marlborough: Crowood, 2002.
Dilker, Barbara. ​Stage Management Forms & Formats​. New York: Drama, 1988.
Gruver, Elbert A., and Frank Hamilton. ​The Stage Manager's Handbook​. New York: Drama Book Specialists,
1972.
*Ionazzi, Daniel A. ​The Stage Management Handbook​. White Hall, VA: Betterway Publications, 1992.
*Kelly, Thomas A. ​The Backstage Guide to Stage Management​. New York: Backstage Books, 2009.
Menear, Pauline, and Terry Hawkins. ​Stage Management and Theatre Administration​. Ed. David Mayer.
London: Phaidon, 1995.
*Schneider, Doris. ​The Art and Craft of Stage Management​. Fort Worth: Harcourt Brace, 1997.
*Stern, Lawrence. ​Stage Management​. Needham Heights: Allyn and Bacon, 1992.

Some of these books are available in Alpha Psi Omega’s Psibrary. The texts marked with an * have been used for
the Hofstra Stage Management Course in recent years.
 Page 40 of 80

APPENDIX A:
PRE-PRODUCTION 
Contact Numbers to Know
Rehearsal Spaces and Room Numbers
AEA Responsibilities of an Actor
AEA Definitions of the Duties of a Stage
Manager
Definitions of the Duties of a Hofstra University
Stage Manager
 Page 41 of 80

Contact Numbers to Know 

Drama & Dance Office: (516) 463-5444
Costume Shop: (516) 463-6643
Adams Playhouse/Backstage (​516) 463-6642
NAB Scene Shop: (516) 463-7046
NAB Office (Production Manager): (516) 463-7029
Public Safety Non-Emergency: (516) 463-6606
Public Safety Emergency: (516) 463-6789

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Page 42 of 80

Rehearsal Spaces and Room Numbers  

The Spiegel Theatre

Room Common Name Notes

150 Theater Rehearsal cubes and chairs, bar-type tables.

XXX Basement Storage area for the drama clubs’ equipment

N/A Lighting Booth Light and Sound Board are operated from here. Be sure to
request opening the booth at the same time you unlock the
building.

Shapiro Family Hall / Joan & Donald Schaeffer Black Box Theater / Scene Shop

200 Theater ​Black Box Theatre that is capable of being set up in multiple
different styles.

210 Dressing Rooms Two large dressing rooms each with private bathrooms.

207 Scene Shop Primary work and build space for the department. Ex: 3-7046

Emily Lowe Hall

106 Dance Studio Dance floor with mirrors, upright piano, white board, and
rehearsal cubes. No street shoes allowed on the floor.

108 Dance Studio Largest dance floor with mirrors, sound equipment, light
board, grand piano. No street shoes allowed on the floor.

110 Dance Studio Dance floor, whiteboard, folding desks. Computer, projector
with A/V input. No street shoes allowed on the floor.

216 Design Studio Projector, whiteboard, computer with DVD, A/V input.
Drafting tables. ex: 1-7121

217 Conference Room Projector with A/V input, 20 seats around oval conference
tables. ex:1-7122 [Wall], 3-7104 [Floor]

022 “Old Lounge” Carpeted floor with several chairs. Acts as Emily Lowe
Dressing Rooms during the day. Bathrooms with lockers and
showers. The props cabinets for rehearsals are located here.

100 Drama & Dance Small common room with couches and tables. Good space
Lounge to be used as a waiting area during auditions, callbacks, or
rehearsals.
 Page 43 of 80

016 Costume Shop

013 “Old Costume Shop” Also referred to as the craft room

Calkins Hall

139 Dance Studio Dance studio with mirrors, rehearsal cubes, grand piano. No
street shoes allowed on the floor.

Please note that you have the option of booking various rooms in the Student Center for use during regular
rehearsal hours if needed. The Stage Manager should contact the Office of Events Management for further details.
 
 
Page 44 of 80
Page 45 of 80
Page 46 of 80
 Page 47 of 80

APPENDIX B:
REHEARSAL/PRODUCTION
PROCESS  

Cast Deputy Election & Responsibilities

Character/Scene Breakdown
Blocking Key
Rehearsal Report Sample
Rehearsal Report Blank
Production Meeting Minutes
Rehearsal Schedule
Props Running List
Sound Cue Sheet
 Page 48 of 80

Responsibilities of the Cast Deputy 

Introduction

The purpose of this packet is to outline the duties and responsibilities of the Cast Deputy. Please
keep in mind that the duties of the Cast Deputy at Hofstra University differ from the duties of an
Actor’s Equity Association Cast Deputy, but this packet uses information from the AEA stage
management packet to help define the role of the cast deputy. If there are further concerns or
questions about the role of the Cast Deputy, they should be directed to Rychard Curtiss, the Stage
Management advisor for the Department of Drama & Dance.

Definition:​ The Cast Deputy will serve as the spokesperson and act as an advocate for the cast
and crew during the production process including read-throughs, rehearsals, tech rehearsals, dress
rehearsals, performances, and any outside events such as publicity events, photo calls, or
additional performances.

The Cast Deputy should bring cast or crew concerns to the stage manager or the Director. If the
Stage Manager or Director is unable to address the concerns in an appropriate manner or if the
issue is such that the Cast Deputy is uncomfortable approaching the SM or Director, the Cast
Deputy should speak with Rychard Curtiss, the Stage Management advisor.

The Cast Deputy should be someone who the cast members trust to look after their best interests.
They should be comfortable speaking with the Stage Manager, Director, and faculty members
when necessary. The Cast Deputy must be willing to pay attention to the rules and be willing to
report concerns.
Election Process:​ A Cast Deputy shall be elected by the majority of the cast at the beginning of
the first rehearsal of every production. The Stage Manager should conduct this election by secret
ballot. Only the Stage Manager and cast should be present for the nomination and vote for Cast
Deputy. The Stage Manager or their assistants cannot be chosen to be the Cast Deputy.
The Stage Manager should begin by opening the floor to nominations and verifying that those
nominated are willing to accept the responsibility, self-nominations are acceptable. When
nominations are complete a vote by secret ballot can be done. Once the Stage Manager has read
and counted all the votes and the Deputy has been decided upon, the company should be notified.
The result should also be noted in the rehearsal report.
Reporting Concerns:​ The Cast Deputy should be prepared to listen to and be aware of rehearsal
concerns and report them as needed. Some examples of the things the Cast Deputy should pay
attention to are:
 Page 49 of 80

● The Cast Deputy should note that breaks are happening appropriately. The Hofstra
University Department of Drama & Dance break rules are a 5 minute break for every 55
minutes of work ​OR​ a 10 minute break for every 80 minutes of work. These rules are
allowed to be modified ​ONLY​ in the case of a run, but the cast is entitled to a break during
intermission and after the run, before notes. A one hour meal break should be given after 5
hours of rehearsal. Please consult the Hofstra SM Handbook for the full text of the break
rules. (linked below)
● The Cast Deputy should be aware if the rehearsals are going longer than scheduled.
Everyone, crew included, should be released by the director at or before the time outlined
in the daily call.
● The Cast Deputy should report any instances of unprofessional behavior shown by any
members of the company, including the director, stage manager, designers, or other cast
members. This can include anything from inappropriate comments, discrimination, or any
form of sexual misconduct. The Cast Deputy should be familiar with the Hofstra
University Title IX Policy, which can be found here:
https://www.hofstra.edu/studentaffairs/title-ix/index.html​.
● The full Hofstra University Stage Manager Handbook is available at:
https://hudramadance.wordpress.com/page/
The Cast Deputy has a responsibility to report any issues brought to them, regardless of their
opinion on the matter in a diplomatic and responsible manner. They should report violations of
the Department of Drama & Dance rules, following the procedures detailed in this document as
soon as they occur rather than waiting for further violations. The Deputy may be asked to deal
with sensitive issues and if the person reporting to them requests to remain anonymous, they
should respect those wishes.
The Cast Deputy should make every effort to solve problems within the show company and
report issues to the Stage Manager or Director. If the concern or issue is such that, in their best
judgment, they are uncomfortable reporting to the Stage Manager or Director, the next step is to
report it to the Stage Management advisor, Rychard Curtiss. If the concern or issue is extremely
sensitive or considered major, then the Cast Deputy can go directly to the Chair. Involving the
Chair should be pursued when all other avenues of recourse have been exhausted or deemed
inappropriate. If it is necessary to report something and the Cast Deputy is uncomfortable
speaking directly to anyone previously mentioned, the Deputy may also contact the Student
Faculty Advisory Board (S.F.A.B.) either in person or using their anonymous comment box,
which can be found at ​https://hudramadance.wordpress.com/contact/​.

Conclusion
The Cast Deputy is a crucial member of the process for all shows, as they are responsible for
upholding the rights of the cast and making sure the rules of the Hofstra University of Drama &
Dance are being followed properly. The Cast Deputy must take all concerns seriously and report
them immediately to the appropriate parties. We hope this packet can help address questions and
 Page 50 of 80

concerns that may arise during the process, but should there be any problems that come up that
are left unaddressed in this packet, please schedule a meeting with Rychard Curtiss, the Stage
Management advisor.
Please Note: While you are encouraged to follow the procedures herein, you or any student
can seek the advice and counsel of any Faculty member at any time for any reason.
Let’s all work together to create a safe and professional production.
Best of luck!
 Page 51 of 80

Character/ Scene Breakdown 

 
Page 52 of 80
 Page 53 of 80

Blocking Key 

 
 Page 54 of 80

Rehearsal Report samples

 
 
Page 55 of 80
 Page 56 of 80

Production Meeting Minutes

 
 Page 57 of 80

 
 

Rehearsal Schedule
 Page 58 of 80

Props & Sound Lists Forms or Samples 

Props Running List
 Page 59 of 80

Sound Cue Sheet

 
 Page 60 of 80

Appendix C: Policies & Guidelines 

 

Rules for use of Drama Dept Spaces

NAB
Spiegel
Playhouse Stage Manager Procedure as provided
by Technical Staff
 Page 61 of 80

RULES FOR USE OF DRAMA DEPARTMENT SPACES

(As provided by the Production Manager to those requesting rehearsal space from the Department of Drama and
Dance) 
Emily Lowe 022, 106, 108, 110, Calkins 139, Spiegel Theatre 
● The use of any Drama Department space is restricted to departmentally approved events only. For
procedures on how to gain departmental permission for your event, please see below.
● There is to be no food, drink, smoking, or animals in any of the spaces. Only water in non-breakable
containers is tolerated.
● Do NOT use adhesive tape on the floors, doors, mirrors, or walls of the spaces.
● Do not move any piano from its current location.
● If your space has a vinyl dance floor please note the following:
○ No shoes other than instructor approved dance shoes are allowed to be worn on the dance floors.
○ Please pay close attention to anything you put on the dance floor. Be certain anything you put on
the floor will in no way mark, scratch or tear the floor.
● If you are trying gain admittance to a space after hours and find it locked, you will need to contact Public
Safety at 516-463-6606. Be sure to have a printed copy of your emailed scheduling confirmation to show
Public Safety that you have departmental permission to occupy the space.
● Please immediately report anything that you find wrong with the room by calling The Production Manager
at 516-463-7029—leave a message noting the nature of the situation, please leave a callback number.
Also call if an accident happens or damage occurs to the space or its contents during your scheduled time.
● All rehearsals must start and finish on time. Be considerate of those scheduled in the space after you.
Reserve enough time at the end of your rehearsal to reset the space and clean up after yourselves without
going past your confirmed end-time.
● Before the end of your time slot:
○ Restore the space to its zero state (where everything in the room belongs).
○ Remove all personal possessions, scenery, properties, and garbage from the space.
○ Close and lock all windows
○ Lastly, unless the next group is already waiting for you to leave, be sure the lights are off and all
doors are shut tight and locked (if possible).

 
 Page 62 of 80

Shapiro Family Hall 

Joan & Donald Schaeffer Black Box Theater

STAGE MANAGER PROCEDURE

BEFORE HOUSE OPENS

Check stage.
Open dressing rooms, booth and doors used during the show
Sweep and mop stage and wings.
Turn on dressing room paging system before one hour call.
Set up/turn on video monitors in booth.
Half hour, 15, and 5 minutes to Dressing Rooms.
Check sign in sheet to make sure entire cast has arrived.
Collect valuables from actors once all have arrived.
Check headsets, especially if wireless are used.
Have the Light Board operator do a blackout check
Check cue lights, if any
Check presets of all areas.
Check House is clear.
Call House to inform them when you are ready to open.
Tell cast and crew when house is open.

BEFORE CURTAIN

Close Shop door and door to the Greenroom.

Have Greenroom meeting at least 15 minutes before curtain.
Call places.
Check status of House with the House Manager before taking control

GREENROOM

Leave one of your assistants on Headset.

Call cast and ASMs to Greenroom.
Give any information necessary prior to beginning
Poo-Wah-Bahs.

AT INTERMISSION

Check “curtain time” with house manager.

Get house count if desired.
Keep an assistant on Headset
 Page 63 of 80

Announce 10 minutes, 5 minutes, and places.

Check set, props, and any other elements needed.
Get permission to start the second act from the house manager ONLY.
Curtain.

AFTER THE SHOW

Thank crew chiefs and crews.

Turn on work lights once the house is mostly clear.
Turn off show running lights. Turn on wing lights and stage work lights.
Return valuables or have actors pick them up.
Turn off monitors.
Make sure lights and sound are secure
Make sure Booth is locked.
Make sure props are locked up, cleared, or covered.
Make sure the dressing rooms are clean.
Make sure the dressing rooms lights and mirror lights are off.
Turn off dressing room paging system, if applicable for the space.
Lock dressing rooms.
Lock the Stage Doors.
Put ghost light on stage and turn on.
Turn off house lights unless Custodian is cleaning.

 
 Page 64 of 80

Spiegel Theatre 
SPIEGEL STAGE MANAGER PROCEDURE

BEFORE HOUSE OPENS

Check stage.
Check space reserved for dressing rooms.
Sweep and mop stage and wings.
Turn on all Boards and equipment in the Booth.
Half hour, 15, and 5 minutes to Dressing Rooms.
Check sign in sheet to make sure entire cast has arrived.
Collect valuables from actors once all have arrived.
Check work lights
Check presets of all areas (warmers on, flies in,etc.).
Check the House is clear.
Inform those selling tickets when you are ready to open.
Tell cast and crew when house is open.

BEFORE CURTAIN

All door or curtains closed.

Call places.
Speak with those selling tickets about when you will start.
Get house count if desired.

AT INTERMISSION

Check “curtain” time with house manager.

Announce 10 minutes, 5 minutes, and places.
Check set, props, and any other technical elements
Inform those selling tickets when you are ready to start.
Curtain.

AFTER THE SHOW

Turn on work lights once the house is mostly clear.

Turn off show running lights. Turn on remaining work lights.
Return valuables or have actors pick them up.
Turn off monitors and boards.
Make sure lights and sound are secure
Make sure Booth is locked.
Make sure props are locked up, cleared, or covered.
If items must be returned to the basement, make sure it is locked afterwards.
 Page 65 of 80

Make sure the “dressing rooms” are clean.

Turn off house lights.
Make sure stage door is locked by calling Public Safety.
 Page 66 of 80

John Crawford Adams Playhouse 

PLAYHOUSE STAGE MANAGER PROCEDURE

BEFORE HOUSE OPENS

Check stage.
Open dressing rooms, booth and props cabinet
Sweep and mop stage and wings.
Turn on dressing room paging system before one hour call.
Set up/turn on video monitors.
Half hour, 15, and 5 minutes to Greenroom
Check sign in sheet to make sure entire cast has arrived.
Collect valuables from actors once all have arrived.
Accept technical checks from crew chiefs ONLY (lights, sound, flies, and props, etc).
Check that the cyc is in position and 4 upstage wall lights switched off.
Keep an assistant at the SM desk with the phones.
Check work lights:
A. Grid lights off (2 circuit breakers)
B. Prop room lights off
C. Shakespeare room lights off
D. Upper Izenour room lights off
E. Izenour room lights off
F. Lighting Closet lights off (upper & lower rooms)
G. 4 upstage wall lights switched off, turn on crossover rope lights.
H. Show running lights on, if any
Check cue lights, if any
Main curtain closed, if necessary.
House/Caliper doors closed, if necessary
Check pit position.
Check presets of all areas (warmers on, flies in,etc.).
House clear.
House will call approximately at half hour inquiring about opening. House can be reached from phone at SM
Deck SL via speed dial button.
Tell cast and crew when house is open.

BEFORE CURTAIN

Shop door closed

For night shows, make sure the lights in the south end of the shop are off.
Shakespeare and upper prop room doors are closed.
Switch phone to “OFF”
 Page 67 of 80

Have Greenroom approximately 15 minutes before curtain.

Call places.
Get permission to start from house manager AND NO ONE ELSE.
Get house count..

GREENROOM

Leave one of your assistants at the Stage Manager’s desk

As many people like to go to Greenroom, it would probably be best to rotate the ASMs’ positions at this time
Call cast and crew to Greenroom.
Check with the tech people and crew chiefs if they have anything they want to say during Greenroom before
beginning.
Have your say to the cast and crew.
Let those who wish to speak do so.
Let the director speak.
Poo-ah-bahs.
Break a leg.

AT INTERMISSION

Check curtain time with house manager.

Keep an assistant at the desk with the phone
Announce 10 minutes, 5 minutes, and places.
Check set, props, and flies.
Get permission to start the second act from the house manager ONLY.
Curtain.

AFTER THE SHOW

Thank crew chiefs and crews.

Turn on work lights once the house is mostly clear.
Turn off show running lights. Turn on wing lights and stage work lights.
Switch phone to “‘Ring”
Return valuables or have actors pick them up.
Once house is clear, open main curtain.
Turn off monitors and put away.
Make sure lights and sound are secure
Make sure Control Booth is locked.
Make sure props are locked up, cleared, or covered.
Switch on four upstage wall lights.
HURRY OUT ACTORS! if you don’t, they’ll never leave.
Make sure the dressing rooms, chorus rooms, and washrooms are clean. Make sure the dressing rooms lights and
mirror lights are off.
 Page 68 of 80

Lock dressing rooms and bathroom doors from the chorus dressing rooms.
Turn off dressing room paging system.
Turn off house lights unless Custodian is cleaning.
Put ghost light on stage and turn on.
For Rehearsals only make sure stage door is locked and the theatre is secure.
Tom Morgan 3/22/68
Revised: 10/24/68 T.M.
9/l 9/90 Lisa D. Katz
10/24/97 Peter J Hague
03/15/13 Brian Hetland and Brian Canese

 
 Page 69 of 80

APPENDIX D:
TECH WEEK/PERFORMANCE 
 

Sign-In Sheet
Tech Week Schedule
Scene Shift/Run Order of Scenes
Performance Reports
 Page 70 of 80

Sign In Sheet 
 Page 71 of 80

Tech Week Schedule

 Page 72 of 80

Scene Shift / Running Order of Scenes

Page 73 of 80
 Page 74 of 80

Performance Report Samples

 
Page 75 of 80
 Page 76 of 80

 
 
 

GLOSSARY 
10 out of 12​: Usually occurs only during tech week, when the cast and crew may only work ten hours within a
total time period of twelve hours.

ASM​: Assistant Stage Manager, part of the Stage Management staff.

Audition​: A performance before producers, directors, or others for the purpose of being cast in a production.

Blackout​: The moment at which the entire playing area goes dark, usually in a sudden fashion, often to mark the
end of a scene.

Blocking​: The staging of the movement of the actors in the acting area. It is the stage manager’s responsibility to
carefully record the blocking, and ensure that it is strictly followed during performances.

Blocking notation​: A written or symbolic description of the actor’s movements that is recorded in the actors’
scripts and the Stage Manager’s Prompt Book.

Board operator​: The technician who controls the lights, sound, or projections during technical rehearsals and
performances.

Call​: The time that performers must arrive for rehearsal or performance, placed on the callboard OR a warning to
actors for the beginning of an act (15 minute call, 10 minute call, etc.)

Callboard​: A bulletin board hung near the stage or rehearsal space for all announcements related to the
production. All performers are required to check the board at least once a day.

Cast​: The performers in a play; the act of selecting performers for roles in a play.

Choreographer​: The person responsible for creating dance sequences in a musical production or dance concert.

Comps​: Free, complimentary, tickets for people working on a production.

Contact Sheet​: A list of names, emails, and phone numbers of all performers, staff, and crew associated with the
production.

Control booth​: The room in which light and sound equipment are operated.
Costume Designer​: The person responsible for planning the style, color, fabric, and character details for the
clothing in a play.

Costume Plot​: A list and description (breakdown) of every costume piece worn by every actor and character in a
play.
 Page 77 of 80

Cue: ​Technically, a cue is the execution of a move or effect in lighting and sound. For the actors, a cue is the line
that immediately precedes a line of their dialogue.. As a verb, the word may be used by the Stage Manager, who
cues all technical personnel either verbally or on a light, and cues actors by giving them their lines when they
have forgotten them.

Cue light​: A light that signals crew members or actors to prepare for an action when it is turned on and signals
them to “go” when it is turned off.

Cue Sheet​: The written record of every technical cue in each department; this should include the cune number or
letter, how it will be called (i.e. verbally or cue light) and what will happen during this cue.

Cue-to-Cue​: A run-through of the performance with actors skipping dialogue and action from one technical cue
to the next.

Curtain time​: Time set for the production to begin.

Cyc​: Short of cyclorama, it refers to a large drop or curtain, often used by the lighting and set designer to
represent the sky.

Dark night​: An evening when the production is not performed.

Deck​: The stage level (derived from ship terminology).

Director​: The person responsible for interpreting the script, blocking the action, and coordinating the various
artistic aspects of the production.

Dressers: Crew members who help actors in and out of their costumes and supervise the distribution of costumes
during performances. They also organize and assist all quick changes.

Dress rehearsal​: A rehearsal that includes costumes.

Drops​: Scenery hung over the stage, and often flown in or out.

Dry tech​: The same as a cue-to-cue without actors.

Escape Stairs​: Stair units unseen by the audience used to enter or exit the stage from a raised platform or door.

Fight Director​: The person who stages any fight scene, duels, etc. Must be trained and qualified to do so.

Final dress​: The last rehearsal before opening night.

Flies​: The rigging system used to raise and lower scenery, equipment, and drops.

Front of house​: Usually refers to the staff positions related to the business of theater, such as the box office and
house management.

Ghost light​: A light left illuminated onstage when the theater is closed.

Gel​: The color filter for stage lights.

 Page 78 of 80

Go​: The order to execute a cue.

Green room​: The lounge where actors wait to go onstage.

Grid​: A matrix of beams at the top of any theatre building from which the hanging pipes for lights and scenery
are suspended.

Ground Plan​: A technical drawing that indicates the position of scenery and set props on stage.

Half-hour​: The thirty minute warning to cast and crews before the curtain goes up.

House​: The area of the theatre where the audience customarily sits.

Load in/Load it​: The time a show goes into or out of a theatre.

Musical Director​: The person responsible for interpreting the musical score for voices and instruments.

Off-book​: A point in the rehearsal process when the actor has learned all lines and can put the script down.

Paper tech​: The first technical rehearsal in which the TD, Stage Manager, Lighting Designer and Master
Electrician meet to go over technical cues.

Perishables​: Props that need to be replaced regularly: food, ripped documents, breakaway glass, christmas
crackers.

Piece​: a work created by a choreographer.

Places​: The term used by the Stage Manager to call actors to their entrances or waiting positions for the opening
of an act or scene; five minutes before the first “go.”

Preset​: To position props or costumes on or off stage prior to the opening of the act or scene; the lighting on stage
as the audience enters prior to the start of the show.

Preview​: A performance given before the publicized opening night, often for an invited audience.

Producer​: The Chair of the Drama Department. The Director of the Dance program acts as producer for the
Dance Concerts.

Prompt​: What you hope your actors are.

Prompt Book​: The book which houses the Stage Manager’s script as well as forms, notes, blocking and so on,
relevant to the production.

Prop table​: An off stage table on which props are placed to be picked up by the actors to carry on stage or by
crew members to preset during a scene change.

Proscenium​: The arch or frame that goes around the stage.

Quarter mark​: A marker used in dance to divide the stage and give directions used in conjunction with SR and
SL
 Page 79 of 80

Quick change​: A fast costume change that does not allow time to go to a dressing room.

Quick change booth​: A temporary dressing space backstage to allow privacy for fast costume changes.

Raked Stage​: The practice of setting the stage floor on an incline, so that the downstage edge is lower than the
upstage edge.

Read through​: An early rehearsal in which the script is read and discussed from beginning to end; Designers
may make presentations.

Running crew​: The technical crew needed to operate a production; deck crew, costume crew, light board
operator and sound operator are all positions on the running crew.

Running order​: The order of scenes and music in a production.

Run through​: The first attempts at performing a show all the way through without stopping.

Set Designer​: The person responsible for planning the style, colors, textures, and arrangement of the physical
environment.

Scrim​: A gauze like curtain that when lit from the front is opaque, and when lit from behind, translucent.

Scene shift​: To change scenery or props between scenes or acts.

Shops​: The various workplaces where the physical production is assembled or built.

Sitzprobe​: German term meaning a sit-down reading of the score with the singers. The conductor runs this
rehearsal, and works to balance the orchestra and vocals.

Sign-in​: To sign an attendance sheet to establish presence for a performance or work session.

SM​: Stage Manager; responsible for running rehearsal, Production Meetings and performances. You should
know who that is at this point.

Sound Designer​: The person responsible for planning, creating and setting up the technical equipment needed for
executing the sound effects in a production.

Spike​: To tape the position of actors position, the set or props on the stage floor.

Spike Tape​: The specific type of tape used to spike the set props on the stage floor.
Standby​: An instruction from the Stage Manager to a technician to be ready to execute a cue.

Strike​: To return the performance space to its original condition.

Technical Director (TD)​: An individual who supervises the building of scenery and set props, and oversees the
technical rehearsals.

Technical rehearsal​: A rehearsal that includes technical effects, such as light, sound, scenery and so on.
 Page 80 of 80

Trap doors​: Sections of the stage floor that open, allowing actors to enter or exit.

Travelers​: Curtains that open rather than flying in or out.

Understudy​: An actor who is prepared to go on for another actor in an emergency.

Wagon​: A rolling or tracked platform that goes on or off stage with actors and/or scenery on it.

Warning​: A signal from the Stage Manager that a cue is coming soon.

Wings​: The area directly offstage.

Work call​: The time period during which the crew is called to work any technical element of the production, in
which no actors are called.

Work lights​: Lights used for illumination during rehearsals or technical work sessions.