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University of Idaho Department of Theatre and Film
Stage Management Handbook
A supplement to Theatre 320 - Stage Management
Originally Compiled By Dean Panttaja, Ph.D. Updated Spring 2005 by Angie Renaldo Table of Contents
Purpose
The purpose of this handbook is to explain the policies and procedures used by stage managers at the University of Idaho to conduct theatrical productions. This handbook is a supplement to the Stage Management textbook used in Theatre 320 – Theatre & Stage Management. This handbook is to be used in tandem with the Departmental Production Policy Manual for production procedures. Supplied in this booklet are commonly used forms from several different theatrical sources and donated by several previous Stage Managers. Adherence to the processes, policies, and procedures outlined here will ensure a smooth and efficient production and pleasurable experience for the Stage Manager.
Definition “Stage managers are responsible and adaptable communicators who have the ability to handle and coordinate diverse groups of artistic personalities with tactful discipline and a sense of humor. They establish a creative environment by combining the ability to prioritize and anticipate and solve problems, with the calm sensitivity and grace under pressure. Their ability to do the above stems from organizational ability, acquired technical knowledge (sound, music, lights, design and construction, typing, use of computers, and so on), familiarity with union requirements, and an inspirational personality that creates positive energy”. A job description from Thomas Kelly’s book on stage management from his class at Rutgers Mason School of the Arts. This document was compiled from the work of: Angie Renaldo, Elanie Walwrath, Kim Crawley, Kate Parker, Ginnie Sutfin, Persephone Slichter, Ester Emory, and Ellen Bredehoft; as well as other past Stage Managers at the University of Idaho and solid theatre practitioners. Process Timeline Week One: (two weeks before Rehearsals begin) Meet with Director Discuss: · Audition Dates & Requirements · Rehearsal Schedule · S.M.’s Responsibilities · Production Meetings · Scripts (Copies / Availability) Obtain and read script Make prop plot (list) Make light & sound plot Note any potential technical pitfalls Make a Prompt Book · See Prompt Book Basics Schedule a first Production Meeting (Departmental Scheduled…Monday 12:30pm) Arrange a Call Board · See Callboard Basics Make & Post Audition Notices · Date / time / place · Script availability · Proper attire and type of audition. · Contact number (usually SM’s) Find an Assistant Stage Manager & Delegate Work Week Two Keep in Contact With Production Staff · Set up meetings with the Director & others as needed · Establish yourself as the communications link. · Ask questions & find out answers Get to Know the Theatre / Audition Space Get the keys for the building & find out how to turn on the lights Locate brooms, flashlights, first aid, fire extinguishers, phone, tools, etc Edit existing Audition Forms and Make copies · Ask Director for anything else He / She wants to be included Make Master Calendar (include info from Departmental Calendar) Week Three Auditions · Arrive early & set up space · Hand out audition forms · Control scripts · Be organized & take up all tasks so the Director can concentrate on the Actors & their auditions. · Give opinions when asked for, never volunteer an opinion. · Clean up & Lock up · Post call back and/ or cast list on main callboard Make Phone List Do not post in a public space especially a public callboard. Contact Costume Designer Establish times & methods of fittings for the actors Chalk Or Paint Out the Floor Plan (Talk To or Do With the Technical Director) Begin Rehearsals · See Rehearsal Responsibilities Week Four through Tech General Duties · Contact members of production staff on a regular basis · Update Call Board · Go to rehearsals · Attend production meetings · Collect and report program information · Check on publicity · Set up a paper tech Set up in house communication system Schedule & organize light level settings and other Tech Rehearsals Tech The Stage Manager organizes & conducts all Technical Rehearsals (Not TD) Schedule the day realistically Technical rehearsals are for technical considerations; it is not a rehearsal for crafting or blocking. Actors should be alert to where props are placed, light cues happen, etc. The Stage Manager calls go and stop. The Stage Manager and the Lighting Designer are the only people who should be on headset. Use the ASM to help control the actors and backstage activities, props, flying scenery, etc. The Run of the Show The Directors job is done, and they should be in the audience, NEVER allow the Director into the control booth. The SM working with the House Manager decide when the show is going to begin. The SM is responsible for the safety of the audience. The SM calls the cues & keeps the show in hand Strike The TD organizes the strike and the SM. helps the TD especially when it comes to the cast Individuals should be assigned tasks to their abilities. Production Policies General Rehearsal Rules and Guidelines Rehearsals will begin and end on time. If an actor is late for rehearsal that rehearsal will run over tine for everyone by as many minutes that actor is late Be on tine for all costume fittings as well. Do not miss them. Actors will be notified by email as well as a posting on the call board of any costume fittings. If you are late or absent you will be charged a $10 fee by the Costume Shop Manager. If you must cancel, you must call by 8:30 on the morning of your scheduled day. All scheduling or schedule changes must be notified to the Stage Manager and Production Manager Check the callboard and email daily for rehearsal schedules, changes, fittings, etc. The callboard is located outside the Shoup Conference Room Shoes are required at all times in any rehearsal or work area Actors and crew are responsible for keeping any of the stages and the green rooms clean during rehearsals, technical rehearsals, dress rehearsals, and performances. Before the company goes home the areas must be neutralized The Stage Manager will enforce this policy There is no smoking in any University of Idaho building. You make smoke outside the west Hartung backstage door (near the men’s dressing room) or the Kiva. Dispose of your cigarette butts responsibly and ecologically. Please avoid offstage noises and talking. It is distracting to those rehearsing, as well as being inconsiderate and disrespectful Be aware of what is going on onstage. You are responsible for entering on cue. Stage Management is not responsible for finding you Accidents must be reported to the shop supervisor of the area in which the accident occurred as well as the Stage Manager. Non-emergency injuries must either be referred to the Student Health Center or to Quick Trip (across from the North Campus Center) Emergencies will be taken to the Emergency Room at Gritman Memorial Hospital. The Hartung loading dock is a Fire Lane. Parking violators will receive a ticket and a possible towing. There is absolutely no smoking, eating, or drinking in costume. Drinking and eating are prohibited from all audience and performance spaces except at technical rehearsals
Rehearsal Policy Enforcement of the following policy is the responsibility of the Stage Manager and the Director. These regulations are modeled after the Actors Equity guidelines and have been agreed upon by the faculty of the Department of Theatre Arts. This policy applies to all departmental productions during the rehearsal process. Technical rehearsals have a separate policy. Company members will have at least one day (24 hours) off during the course of each rehearsal week. No rehearsals will occur on Sunday nights Rehearsals will end no later than 10:30pm for all company members for each night of rehearsals Weekday rehearsals will be no longer than three and one-half hours and include a 5-minute break every hour or a 15-minute break after an hour and a half of rehearsal Weekend calls may be extended for selected members of the company Rehearsal calls, which include dress parades, publicity photo shoots, or other associated production activities, are part of the three and one-half rehearsal period Under normal circumstances, dress parades shall not exceed one hour, publicity photo call one-half hour, and production photo call (Archive Shoots) one hour Any change of rehearsal schedule requires a three-day notice for those company members who were not originally scheduled to appear on the date in question if it negatively affects individual company member or that will change the routine that has been established Separate but concurrent mainstage rehearsals are the responsibility of each shows director to coordinate collaboratively Technical and Dress Rehearsal Policy Technical and dress rehearsals will run no later than 11:30 each night from the first designated day though opening There will be a minimum one and one half hour break between calls for the company and crewmembers There will be a minimum eight hour turn around for all company and crewmembers There will be at least one-half working day (6hour) turn around between dress rehearsals No departmental activities shall be planned that intrude upon an actors or technicians preparation for technical rehearsal or performance (between 5:30pm -7:00pm) Directors will arrange rehearsal schedules to accommodate the ability for company members to attend departmental previews that fall within their respective rehearsal period Stage Managers are required to be present one-half hour before an actor call
Work Call Policy All calls and strikes will have the shop supervisor of that area in attendance. Designers should be in attendance as requested or as necessary to that call Weekend work calls should be avoided at all costs. The department adopts a policy that habitual “over design” and extended work hours are an abuse of student rights. Students MAY NOT work alone...there are no exceptions to this rule Strike and work calls are departmental obligations. Students should volunteer in good faith. All cast and crew on a production will attend and contribute to strike. It is the Stage Managers responsibility to enforce attendance. Only physically and health challenged students will be excused with the Stage Managers permission. The Technical Director and/or Production Manager will monitor participation House Management and Usher Policies The House Manager and Ushers are required to wear clean shirts, slacks, and shoes, and be well groomed. Hats are not allowed. Both the House Manager and Ushers are called at 6:30pm for evening performances and 1:00pm for matinees. The House opens at 7:00pm and 1:30pm respectively. Pre-show duties include cleaning up the house, preparing programs, and preparing to receive ticket stubs. During the show, Ushers are expected to help take tickets and show audience members to their seats. Ushers will be seated near fire exits. During emergencies, it is the Usher’s job to help the audience out of the exits. Ushers must stay until released by the House Manager The House Manager is responsible to organize and train the Ushers, collect ticket stubs, and resolve all patron problems including seating issues. The House Manager will report to the Stage Manager on the ability to start the production five minutes to the expected “Go” time. The House Manager needs to predict the actual starting tine and report that to the Stage Manager. When the House is ready, the House Manager will signal the Stage Manager from the House Left entrance or by the provided communication device. Photo Call Policies This policy covers publicity, archive, and other departmental photography concerns Not all photography methods and processing technologies are foolproof. All photo calls should be done early enough in the production schedule to accommodate a re-shoot Photo Call in the Production Schedule will be coordinated through the Publicity and Marketing Director Two weeks prior to publicity shoots the Director, Technical Director, Costume Designer, and Costume Shop Manager will be consulted as to the time, place, and needs for that publicity shoot in a Production Meeting. The standard day for archive shoots are Thursdays during the week of production run. Photo shoots should not conflict with KCACTF responses. Both cannot happen on the same night Two weeks prior to departmental archive shoots, Directors will be given a limited number of shots to use. Directors are responsible for coordinating what those “set-ups” or “looks” are with the designers. Stage Managers will run the call Since the “set-ups” or “looks” that the Director chooses may not fully represent the needs of the designers. Designers are encouraged to shoot their own archive shots during dress rehearsals During archive shoots, the paid photographer for the department has priority, All other photographers must wait until the university photographer has finished photographing the “set-up” or “look” before they begin moving around. Cameras using a flash must always go last. Lighting may not be adjusted without the permission of the lighting designer Other photos of faculty and students for marketing purposes make take place on an arranged basis. Subjects in marketing photos must release their rights for use prior to publication Photography techniques for archive shoots will be taught in Theatre 406 – Design Studio on a regular basis. Emergency Policies Work Related Injuries All work related injuries and illnesses for students are covered by workman’s compensation. Following medical attention, it is important that you fill out a workman’s compensation form from the Production Manager or Shop Supervisor. Both should be notified immediately at the time of the accident or as soon as necessary emergency measures have been taken. In an emergency, take the injured person either to the Student Health Center or to Quick Care (across from the North Campus Center). If the injury is after hours or is a life-threatening emergency, you may take the injured person to Gritman Memorial Hospital emergency room. Emergency Phone Numbers Police/ Fire/ Ambulance 911 (on campus 9-911) Campus Police 885-7047 (on campus 5-7074) Student Health Center 885-6693 (on campus 5-6693) Gritman Memorial Hospital 883-6246 (on campus 5-6246) Performance Injury Stage Management in lieu of faculty are responsible for handling all performance related injuries and emergencies Do not create panic. Act calmly. Keep a clear head. Lead by example. Since you will need to file a report with the Production Manager and Departmental Chair immediately after the incident, write down the event as you may go into mental shock and forget the events of the following day. All Accident Reports must be filed within 24 hours of occurrence – turn forms into the Office Manager. Step-by-Step Emergency Procedures In case of injury on the stage or in the audience (fall, heart attack, seizure, etc.) Use the prompt to address the audience over the public address system Ask the audience to adjourn to the Hartung Lobby or the Kiva Hallway for further instructions Assess the victims situation Seek qualified help from medical professionals in the house…”Is there a doctor in the house?” Send a runner to phone medical assistance 9-911 Move the victim is applicable or necessary The runner (on the phone with 911 officials) will need an additional information runner to communicate with you Never leave either the phone or the victim Use as many information runners as you need If the injury is a “show stopper” use a runner to inform the audience of the cancellation and when the remaining performance dates and times are Remind the audience to keep their ticket stubs for free admittance to the remaining performance of their choice In case of power outage The emergency lighting should “kick on” immediately. If it does no, use the ushers to guide the audience using their flashlights Use the prompt to address the audience over the public address system Ask the audience to move safely to the Hartung Lobby or the Kiva Hallway for further instructions The generators and battery powered lighting will only last 20 minutes. If the power doesn’t come back on in 15 minutes it probably won’t If the power outage is a “show stopper” use a runner to inform the audience of the cancellation and when the remaining performance dates and times are Remind the audience to keep their ticket stubs for free admittance to the remaining performance of their choice In case of fire Use the prompt to address the audience over the public address system Ask the audience to move safely outside for further instructions. Pull the alarms and have a runner call 9-911 Use the ushers to get everyone outside If the fire is a manageable on stage fire, the crew should use extinguishers and other applicable fire fighting techniques to quench the fire…if not…get out…No Heroics Do not worry about anything other than savings lives…the rest is meaningless The emergency lighting should “kick on” immediately. If it does no, use the ushers to guide the audience using their flashlights If the fire is a “show stopper” use a runner to inform the audience of the cancellation and when the remaining performance dates and times are Remind the audience to keep their ticket stubs for free admittance to the remaining performance of their choice
The Process The Audition Process It is up to the Director what kind of auditions to hold. You need to discuss with the Director what your exact responsibilities are. The department has a standard audition form that you are required to use. Use the audition form in the back of this manual. You are responsible to make sure that the auditions run smoothly as possible. Collect audition forms so that the Director may write comments on them. Having an ASM with you is very helpful to act as crowd control especially if the Director chooses to send people out of the room to prepare. The ASM can gather the next auditioner so that you can quickly move people through auditions. It also allows you to be inside the auditions with the Director. Directors may want to have callbacks. You should make sure that you have a space available for that occasion. Design Meetings These meetings are set up before auditions. The Director and Designers meet to talk about concepts. There are no set times and you are not required to be there. All designers and their advisors are expected to attend. Although you are not required to be there remember that this is where the major decisions are made about the direction the project will take. This is where you get the information that insures that you maintain the concept laid out by the Director and Designers. Some Directors choose to meet with each Designer individually for the first meeting. This meeting is usually very long and general. You do not need to attend this meeting with the Director. Any ideas that become solidified will develop in future design meetings. Production Meetings Production meetings for UI production are held every Monday at 12:30 p.m. in the Shoup Conference Room. The time of your Production Meeting is set by the priority of your show. These meetings will begin at least 6 weeks before the opening date of your show. During the academic year, the Stage Manager runs the meetings specific to their show (during the summer season the Production Manager will run the meetings). This meeting is an opportunity for you to have everyone in one room to discuss problems and solutions. Take full advantage of this meeting. Make sure that you have an agenda. Be organized and use the time effectively. You only have one half hour, so use it wisely. Don’t waste people’s time. Always keep the meeting to a half hour. Make sure that all Design Staff is reminded and can be in attendance weekly. These are organizational meetings (Design Meetings occur as scheduled by the Director & Designers) ¶ Discuss potential design ideas / commanding image. ¶ Establish design due dates. ¶ Establish design presentation dates. ¶ Establish properties request deadlines & due dates. ¶ Establish production & technical rehearsal schedule. ¶ Discuss audition times & dates. ¶ Discuss rehearsal space guidelines. ¶ Discus potential pitfalls. ¶ Establish date of next Production Meeting Follow A Weekly Order: ¶ Director ¶ Music / Conductor ¶ Choreography ¶ Scenery ¶ Costumes ¶ Lights ¶ Properties ¶ Makeup ¶ Hair ¶ Public Relations / Box Office Following the meeting, reports should be sent to the entire Production and Design Staff (including the Production Manager, Departmental Chair, and Office Manager). A copy of the report also should be posted on the callboard. The Rehearsal Process The Stage Manager is responsible for knowing the show better than anyone in throughout the process. Always arrive to rehearsal at least 30-minutes early…write everything down…be organized and prepared. Start rehearsals on time and end on time. Be firm with latecomers. Start the process with a set plan to enforce people being on time. Make sure you take breaks at regular intervals. This helps to keep everyone focused. Equity requires break times at 5 minutes every hour or 10 minutes every hour and a half. Try to keep the Director to these breaks. Each Director will work differently so rehearsals will vary a little bit with each show you do. Make notes about everything that happens in rehearsal on your rehearsal report. Also note costume fittings and special calls. You must do a Rehearsal Reports for every rehearsal – they are a primary from of direct communication. . They stand as a reminder to Design Staff, Cast, and Crew when posted on the callboard. Following ever rehearsal, send a copy to the entire Production and Design Staff (including the Production Manager, Departmental Chair, and Office Manager). A copy of the report also should be posted on the Callboard. During rehearsals, make sure that either you or your ASM are always on book and ready to give a line. Nothing stops a rehearsal faster than an actor calling for a line and no one able to give it to them. Things you will need to bring to each rehearsal: ¶ Rehearsal Schedule ¶ Prompt Book ¶ Stop Watch ¶ Pencils ¶ Stage Manager Kit Step-by-Step Rehearsals The First Rehearsal Start on time – show cast being late is unacceptable behavior from the beginning Your attitude at this rehearsal sets the tone for the rest of the process. Show your professionalism Check everyone's name to see that it’s spelled correctly for program information. Collect all class schedules Collect contact information You should have a record of all contact numbers as well as an emergency number for each cast and crew member. Have cast sign insurance forms Insurance forms are a requirement for participation in any University of Idaho Theatre Department production. It is your responsibility to have this information in case of An emergency. Pass out copies of phone list & master calendar once information has been gathered (2nd Rehearsal) – never post this information Pre-Rehearsal Be early and unlock front, back and smoking doors Sweep and mop floor and remove all hazards Set rehearsal furniture, costumes, and props Convey messages from Production Staff to Actors Call anybody who has not shown up by five minutes before rehearsal begins Tardiness should be dealt with firmly and efficiently Start warm ups if Director is late During Rehearsal Establish routine Keep a Rehearsal Report Aid Director Write down blocking Ride book and take line notes Read roles of absent actors Post-Rehearsal Announce upcoming scheduled costume fittings Announce calendar changes Announce upcoming activities Announce remaining schedule of the week Clean up & Lock up Paper Tech or “Dry Tech” This is usually a paper only Tech Rehearsal. This is where you sit down with all the designers and get all the cues in the Prompt Script. This includes all cues for set movement, lights, sound, special effects, spots, regular and quick costume changes, and cues to actors, anything that happens to be applicable to the production. This is where you start to learn the sequencing of everything. You do not need to meet with all Designers at the same time, but the Director should be present for all cue setting. Do not forget to write in the cues for the Actors (“5 till go,” “Places,” etc.), house lights, “Welcome Announcement” cues and others not commonly thought about until Tech. It is to your advantage to do this now so the first Tech Rehearsal is not slowed down by you writing in cues. Also, make sure that you leave yourself enough time between Dry Tech and the first Technical Rehearsal to go through the cues by yourself. This will help to solidify the show in your head. Cue to Cue Cue to Cues are orderly rehearsals in which, the cues are progressively gone through, one by one, in a sequential order. Actors are told on what line to begin and are usually stopped after the successful completion of the cue. Sometimes these are referred to as “stop and go’s”. Tech Rehearsals You will need to schedule these rehearsals at the beginning of the process with the Technical Director and Production Manager. This should be done in relationship to the Master Calendar. Let your Assistant Stage Manager and Technical Crew know as much as possible about what to expect. Technical Rehearsals seem to be a time when nerves run raw and tempers tend to flare. This is crunch time and you need to be calm to be an example of acceptable behavior to all others. The most import part of the Technical Rehearsal is to keep it moving. Solve problems as quickly as you can and move on. Everyone needs to be focused and listening. The faster and more focused the Rehearsal, the easier it is to achieve a successful Technical Rehearsal. Dress Rehearsal There are three Dress Rehearsals: a Costume Dress Rehearsal, a rehearsal with costume and makeup, and a Final Dress (Preview). They are the last three rehearsals before you open. Hartung Theatre There are two dressing rooms at the Hartung. One room for men, and one room for women. KIVA Theatre There is a Unisex dressing room at the KIVA. Privacy screens may need to be provided. Arena Theatre The dressing rooms are either the bathrooms or the conference room. Production Run You are responsible to arrive at the theatre early and unlock the theatre. In the Hartung, also unlock the prop cabinets, booth, makeup room, and Smoking Door. An important aspect of opening night is your communication with the House Manager. The House Manager will let you know of any problems that arise in the front of house. The House Manager also has the final say on when the go for the top of the show will be each night. Keep Performance Reports for each night’s show. Following each performance, send these reports to the Production Crew including the Departmental Chair and Office Manager. It is the responsibility of the crew heads to fix the problems listed in Performance Reports. If anything goes wrong during the performance with sound or lights the first person to contact is the Master Electrician assigned to supervise sound and lighting. If this fails, you can contact the Production Manager and Technical Director respectively. One of them is frequently in the building or available by phone. Only contact the Production Manager or Technical Director in case of an emergency. The Stage Manager will be the last one to leave the building and you are responsible to make sure that the space has been neutralized and everything has been locked and cleaned up. Photo Call The Photo Calls for the year are setup by the Production Manager and the Marketing and Publicity Director. This is not your responsibility. You need to check with them to obtain the dates for your particular show. You need to make sure with the Departmental Chair that this date does not conflict with the scheduled KCACTF response. Photo call can run very smoothly if you plan ahead. Get a list of photos that will be taken from the Director and each designer. Put the photos in order with a note containing the light cue necessary for the shot, so that you can release the most people first. Make sure that you think about costume and set changes as taking time away. The Lightboard Operator needs to be in attendance and needs to know how to use the board. Lighting can only be altered with the Lighting Designers permission, prior to the shoot. Strike Every person in the department is required to attend strike on a Hartung production. Strike will happen with every production right after the last performance. Kiva production strikes are not a full department call, everyone that has been involved in the production is called for these strikes. The strike assignments will be made by the Technical Director with approval of the Stage Manager. These should be posted 48 hours prior to strike. All cast and crew on a production will attend and contribute to strike. It is the Stage Managers responsibility to enforce attendance. Only physically and health challenged students will be excused with the Stage Managers permission. The Technical Director and/or Production Manager will monitor participation All strikes will have the shop supervisor of that area in attendance. Designers should attend as requested. The Stage Manager will be the last one to leave the building and you are responsible to make sure that the space has been neutralized and everything has been locked and cleaned up. Return keys to the Office Manager to avoid being fined.
Facility Information Departmental Scheduling Policies Policy: All production based scheduling is done through the Production Manager and Office Manager The order of precedence for reserving all spaces is: · Actual Class Meetings · Production Performances · Production Rehearsals · Student Directed Class Projects · Extracurricular Projects If you have any questions regarding scheduling they should be addressed to Production Manager. Procedure: The Hartung, KIVA, and Arena Theaters can only be scheduled as a performance space through the annual production calendar. The Production Manager and Office Manager are responsible for scheduling the annual calendar. Normally, rehearsal schedules are blocked out in tandem with the production schedule for each theatre space. It is a very good idea to insure that the dates for your production are correct with the scheduling calendar in the office. Individual and day-to-day space needs for productions, above and beyond scheduled events in the Hartung and Kiva, may be negotiated and scheduled with the Technical Director. The Office Manager schedules academic scheduling for the Arena, KIVA, and Hartung Theaters. Room schedules for each academic space are posted weekly outside the door. If you have any questions regarding scheduling and procedures, they should be addressed to the Production Manager or Office Manager. Hartung Theatre There is absolutely NO FOOD OR DRINK allowed in the control booth. Water in sports bottle is allowed in the audience. During technical rehearsals, coffee mugs and soda cans are allowed on a responsible basis only. The Stage Manager is responsible for all spills and damage so it is a personal decision. The handrail on each side of the Vomitoria should not be climbed on. The first aid kit is located in the scene shop on the wall by the phone and the stage loading door. There is a fire extinguisher located on each side of the stage on the wall. The stage managers panel is the wall stage right by the steps to the control booth (the “Alps”) There are two phones. One phone is located in the lobby and one is located in the scene shop. The backstage phone needs to be unplugged during every rehearsal (if necessary) and every performance (definitely). During performances the house manager will handle phone calls in the lobby. Emergency numbers are taped to wall backstage left by the phone in the shop, the stage manager’s desk in the house, and the wall of the lobby by the phone. They should also be kept in the prompt book. The fly system in the Hartung is a single purchase counterweight system. No one should touch the rigging in the theatre unless they are qualified to do so. The work lights are turned on at the stage managers panel stage right. The house lights and rehearsal lights are turned on by climbing the Alps to the control booth. Locate the Unison system panel directly outside the control booth door and bring up the master and accompanying sliders on the Unison house light system. The Stage Manager is responsible for complete lock up during rehearsals and production. The Stage Manager must work with the House Manager during production to insure that the building is securely locked up. Check that all fire doors are unblocked, that the glass lobby doors are locked, and that the back door (“smokers door”) and shop door are locked. As well as insure that the safety light is on and Centerstage. All fire doors must remain un-blocked and closed at all times. Headsets needs are to be coordinated with the Technical Director and Master Electrician for the space. Tech tables and prop locker access needs are to be coordinated with the Technical Director. Sweeping will occur in rehearsal spaces at the end of the shop day to remove large particulate matter and nails. Stage Managers are responsible for a secondary sweeping and “dry-mopping” on a nightly basis. Kiva Theatre This facility is part of the College of Education, and as such is a secure building after 10:00pm. Do not prop open any doors. Furthermore, respect the faculty and students of the college by keeping noise to a minimum in the hallways and respecting the rights of others in restroom usage and conduct. There is a small first aid kit located in the in the control booth. The two doors that close off the hall between the Education building and theatre need to be closed at all times. There is a fire extinguisher back stage left by the back door. There is a phone located in the control booth Emergency numbers are taped to wall in the control booth by the phone, and the wall of the greenroom. They should also be kept in the Prompt Book. Headsets needs are to be coordinated with the Technical Director and Master Electrician for the space. Tech tables and prop locker access needs are to be coordinated with the Technical Director. Sweeping will occur in rehearsal spaces at the end of the shop day to remove large particulate matter and nails. Stage Managers are responsible for a secondary sweeping and “dry-mopping” on a nightly basis. Arena Theatre The first aid kit is located on the wall by the dimmer controls. There is a fire extinguisher located on both side of the stage on the wall. There is also one in the hallway. Emergency numbers are inside the first aid kit, in the Theatre Office by the phone. They should also be kept in the Prompt Book.
Useful Information House Announcement Prompts Pre-Show: Welcome to the <Year> University of Idaho Theatre Season. For professional and safety reasons, flash photography and any videotaping of productions is strictly prohibited. Please also take this opportunity to turn off all watch alarms, beepers, and cell phones as a courtesy to the performers and your neighbors. If you are on call, please notify the House Manager as to your seat, so they may better locate you in case of an emergency. This is also an excellent time to unwrap those pesky hard candies and cough drops. Please enjoy the show. Casting Change: Technical Problem: (Requiring an
Intermission) Power Failure: Possible Fire: Noticeable Fire Earthquake: Design Preliminary Expectations The below information is the departmental expectations for designers involved in production at all phases of the design process for a show. It is necessary that all shows adhere to this formula so that productions can be realized efficiently and effectively. Design advisors have the ability to change individual expectations and guidelines only after consulting with the production manager and director. Deadlines however may not be changed. It is the advisors responsibility to see that deadlines and expectations are adhered to. Deadlines can be found on the departmental production calendar. All questions should be addressed to the Production Manager.
(2-5 days prior to Design Preliminary #1) *Director presents the ideas and commanding images surrounding their analysis of the play Task for all Designers · Familiarity with the script · List of questions for director Design Preliminaries #1(14 weeks prior to opening) *Director responds to the designer’s ideas and commanding images surrounding their analysis of the play Tasks for all Designers: · A thorough familiarity of both Script and Character. o Several Readings (Usually 3) o Adjective Lists o Repeated Themes · General research on the period and script. · An emotional response to the play (documented visually). Design Preliminaries #2 (12 Weeks prior to opening) *Director is refining the ideas and responses of the designers at this point. Tasks for all Designers: · Line drawings or rough sketches · Collaged research images (If pulled scenery or costumes, contemporary costumes, and lighting impulses). · Action Plot / Scene Breakdown / Preliminary Cue Sheet. · Evidence of coordinated “allied artist” discussions in shared problems (costumes with make-up, lighting with make-up, sound with lights, scenery with costume, etc).
*Director and designers have agreed upon a production approach at this point. Tasks for all Designers: · Color / Texture Ideas & Information. · Sample Fabrics for Costumes. · Preliminary Sound Plot and Sample Sounds. · Refined Set Sketches and Drawings including a Preliminary Floor Plan. · Refined Costume Sketches (including back views as appropriate) · Makeup Design Impulse Collage / Images. · Costume Action Chart. · Wig, Hair, & Styling Considerations (guess at general direction) · Clear delineation and agreement of responsibilities in resolving shared problems. · All information as necessary for shop supervisors to “bid” on feasibility. · A formal break out meeting between the director. costume designer and set designer should be arranged prior to final design #1 to ensure design cohesiveness.
Costume Design: · Full Color Renderings of all costumes to be built, fully swatched. · Complete sketches of all craft items to be built. · Working Drawings as necessary. · Preliminary dressing List Scenic Design: · Finished Model or Color Rendering of the set. · Full Set of drafting plates to include; floor plan, section, front elevations, and details (as necessary) in “C” size or better. Sound Design: · List of Sound sources, needs, and media. · Finalized Sound Plot. · Speaker patch and microphone placement. · Sound Production Calendar.
Lighting Design: · Finished Collage or Renderings. · Finished ¼” or ½ “ Light Plot in “C” size or better or “D” size respectively. · Complete Paperwork to include; channel assignment, cue sheet, magic sheet, gel media cut list, pattern list, and instrument schedule. · List of Sound sources, needs, and media. · Lighting Production Calendar (Hang & Focus). Scene Design: · Painter’s elevations of sample floor and wall painting technique. Costume/Wigs: · Wig & Hair Styling Sketches & specific Research Images Make Up: · Complete Research · Specific images for every character · Evidence of response to costume designer · List of Makeup needs. Note: To assure delivery, lighting and makeup needs should be ordered no later than the end of the sixth week prior to opening.
Makeup Design: · Finalized Makeup Design Plot. · Individual character face charts, including a clear indication of application techniques and facial hair. Callboard Basics The University of Idaho Department of Theatre and Film Callboard is located outside the Shoup Conference Room. Each departmental production should post all notices and information here for public knowledge. The Stage Manager is responsible for making sure that information is updated daily and that all reports and schedule changes are posted promptly. Basic information to include on the Board: Cast list Production Calendar Rehearsal Schedule Daily Schedule changes Costume Fittings Production Meeting Reports Rehearsal Reports Stage Manager’s contact information In order to make the show’s section of the board easily visual to cast and crew be sure to include a large basic title bar at the top of the board…in order to continue the consistency of the other information be sure that this title is in the same font as the header on the forms posted. Prompt Book Basics The Book Use a sturdy three-ring binder with several tabs Include a copy of the script, all paperwork regarding any aspect of the production Script A template is provided with other forms on the UI Department of Theatre and Film - Stage Management website Photocopy the script onto the template so there is plenty of room in the margins to make cue and blocking notation Blocking A template is provided with other forms on the UI Department of Theatre and Film - Stage Management website …be sure to note all movement of actors and set pieces, as well as prop and costume pieces. If you choose to use blocking notation (symbols, abbreviations, etc.) provide a key at the front of the Prompt Book Cues Cue placement can change numerous times throughout the production process – never write in ink in your book, use PENCIL. Another option is to use small post-it tabs. Tabs – use those that can be written on directly… One per scene change - - - scene number on front side, page numbers on back side Contacts Calendar Dailies Rehearsal Reports Production Meeting Reports Show Reports Design Meeting Reports Costume Scenic Props Makeup Completed Insurance Forms Completed Audition Forms PR/ Marketing Stage Manager Kit
Forms Available
There are numerous Production Forms available at the University of Idaho Department of Theatre and Film Stage Management Website www.class.uidaho.edu/stage_managment they include: ¶ Design Meeting Report Form ¶ Production Meeting Report Form ¶ Rehearsal Report Form ¶ Tech Report Form ¶ Show Report Form ¶ Audition Form (Front and Back) ¶ Attendance and Check In List ¶ Production Crew Contact List ¶ Cast Contact List ¶ Crew Contact List ¶ Blocking Page Template ¶ Script Page Template ¶ Line Notes Template ¶ Rehearsal Prop and Costume Plot ¶ Action Chart ¶ Prop Plot ¶ Photo Call List ¶ Pre and Post Show Checklists ¶ Program Information Form ¶ Accident Report Form ¶ Insurance Information Form Suggested Books The Backstage Guide to Stage Management By Thomas A. Kelly The Stage Management Handbook By Daniel A. Ionazzi Stage Management By Barbara Diker Stage Management, 7th ed. By Lawrence Stern |