SUNY-Fredonia

 The center of communication for a production  Responsible  Organized  Calm/Temperate  Able to maintain confidentiality  Understand all aspects of production to a degree that problems can be anticipated and dealt with  Tactful discretion

 Communicate  Filter information  Prioritize, Anticipate & Solve Problems  Create the best environment possible for artists to do their work  Act as a sounding board  Manage the rehearsal and performance space and personnel  Maintains the integrity of the show once the director has left  Many, many more…

 Director  Choreographer  Music Director & Conductor  Designers  Technical Director  Production Manager  Artistic, Managing, General Directors  Crew  Assistant Stage Manager(s)

 You are only as good as your weakest assistant! Be kind to them, train them well!  ASMs traditionally run backstage crew during performances  You MUST establish communication and trust with your assistant  Assistants are there to support you, not be a hindrance. Establish early on what is expected of them, all deadlines, duties, paperwork, etc.  NOTE: If anything should happen that results in you not being present for a rehearsal or performance, your assistant should be able to pick up and take over without any problems.

 Paperwork is the primary means of communication of a production  All paperwork should be precise, accurate, updated and easy to read and comprehend  Make sure all addresses, contact lists, etc, are accurate before sending mass s with paperwork attachments  After a production closes, the paperwork and prompt book are the artifacts that remain – they are the property of the company  Use versions of programs that are compatible with what the rest of the production team is using. (ex. Microsoft Office 2003 vs. 2007, etc.)  Back up all paperwork!

 Pre-Production Paperwork:  Daily Rehearsal Schedule Template  Rehearsal Report Template  Performance Report Template  Production Meeting Notes  Sign-In Sheet  Scene Breakdown  Music Number Breakdown  Show Timings  Confidential Contact Sheet  Dressing Room Signage  Rehearsal Hall Signage  Dance Numbers  Welcome Packet  Public Contact Sheet  Emergency Contact Form  Wallet Card  Preliminary Rehearsal Schedule thru Dress Rehearsals  Performance Schedule  First Day Daily Rehearsal Schedule  PR Forms  Bio Sheet  Rehearsal & Performance Paperwork:  Daily Rehearsal Schedule  Daily Rehearsal Report  Production Meeting Notes  Prop Tracking  Costume Tracking  Scenic Tracking  Who/What/Where (Opera)  Fight Choreography Charting  Dance Choreography Graphing  Update Timings  Prompt Book Blocking/Cues  Crew Run Sheet  Costume Quick Change Timings  Costume Run Sheet  Performance Reports

 Establish rehearsal & costume fitting schedules with Director, Music Director, Costume Shop  Production Meetings  Gather Stage Kit  Send welcome packets to artists  Create and complete as much paperwork as possible  Set up the rehearsal space and green room  Measure and tape ground plan  Set up coffee area  Callboard  General Rehearsal Schedule, Performance Schedule, Public Contact Sheet, Daily Rehearsal Schedule, Notes & Miscellaneous

 AEA Meeting – First rehearsal  Introductions  Blocking  Music Rehearsals  Choreography  Continue Costume Fittings  Daily Rehearsal Hotline  Daily Paperwork: Rehearsal Schedule, Rehearsal Report  Always follow up with designers/staff if a note is specific  Provide both hard copies and ed files when necessary

 Move into the performance space  PREP PEFORMANCE SPACE:  Set dance numbers, glow tape, water stations  Do a dark walk-thru the space before actors arrive to address any safety issues  Coordinate with Director(s) and Lighting Designer – set lighting cues  Establish prompt book with all cues  Rehearse scene shifts with crew & performers  Add costumes/hair & makeup  Possible Quick-Change Rehearsal  Dress Rehearsals  Be aware of musician union requirements and time restrictions  Production Meetings

 There should not be any changes to a show once it has opened, unless there is a major problem.  Coordinate with House Manager  Coordinate with Crew  Give notes to actors/crew as needed  Send daily performance reports  Maintain the integrity of the show and the director’s vision.

 Make sure every warning/standby/cue is clearly noted in the prompt book  Train crew in headset etiquette – no talking between a “standby” and “go”, cut down on random chatter  Practice calling difficult parts independently of the crew and performers.  If a particular area is too difficult for you to call accurately, ask the lighting designer if it is possible to have auto-follows.  Get into a consistent rhythm. Inconsistent calling will throw crew members off.  Warnings are traditionally given for scene shifts – approximately 2 minutes before a shift starts.  Standbys are given for all cues. These can be given in groups: ex. “Standby Lights 2-14, Sound D-H, Shift #2 & #3”

 Crew Positions:  Crew/Deck Chief  Spot Operators, Light Board Operator, Sound Board Operator  Props Run Crew, Stage Run Crew  Costume/Wardrobe Run Crew  Hair/Makeup/Wig Crew  Personalize paperwork  Substituting Crew Members

 Follow music score instead of script  ASM cues performers to go onstage  Maestro/Maestra  Performers come to the first rehearsal with the part memorized completely  Fewer performances – shorter run  Changes in rehearsal schedule, performance schedule  More double casting  AGMA contracts  Standard repertoire…  La Boheme, Aida, Carmen, La Traviata, Marriage of Figaro, Magic Flute, Barber of Seville

 **AEA – Actors’ Equity Association – musical theatre, Shakespeare, drama, LORT theatres, Broadway, Off-Broadway, etc.  **AGMA – American Guild of Musical Artists – opera, ballet and dance, vocal concerts  IATSE – International Alliance of Theatrical Stage Employees - crew  USA – United Scenic Artists - designers

 Resume  Clean, precise, informative  References  Cover Letter  Explain who you are – what makes you better for this position than all the other candidates? What do you offer? Why do you want to work with this specific company?  PERSONALIZE  Interviews  Know your strengths and weaknesses before every interview!  Be articulate, present yourself well, have a sense of humor.  CONTACTS, CONTACTS, CONTACTS!

 Production Managers  Wedding Coordinators  Corporate Event Planners  Fashion Industry Managers  Television/Film Industry Stage Managers

 Books:  The Backstage Guide to Stage Management, Thomas A. Kelly  Stage Manager: The Professional Experience, Larry Fazio  The Stage Management Handbook, Daniel A. Ionazzi  Programs:  USITT Stage Management Mentoring Program  Shadow Touring Shows  Online Resources for Jobs  Backstagejobs.com  ArtSearch - (must be a member)