SUNY-Fredonia
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The center of communication for a production
 Responsible
 Organized
 Calm/Temperate
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Able to maintain confidentiality
Understand all aspects of production to a
degree that problems can be anticipated and
dealt with
Tactful discretion
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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…
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Director
Choreographer
Music Director & Conductor
Designers
Technical Director
Production Manager
Artistic, Managing, General Directors
Crew
Assistant Stage Manager(s)
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You are only as good as your weakest assistant! Be kind to them,
train them well!
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ASMs traditionally run backstage crew during performances
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You MUST establish communication and trust with your assistant
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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.
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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 email addresses, contact lists, etc, are accurate
before sending mass emails 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!
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Pre-Production Paperwork:
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Rehearsal & Performance 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
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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
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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
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Establish rehearsal & costume fitting schedules with Director, Music
Director, Costume Shop
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Production Meetings
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Gather Stage Kit
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Send welcome packets to artists
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Create and complete as much paperwork as possible
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Set up the rehearsal space and green room
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Measure and tape ground plan
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Set up coffee area
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Callboard
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General Rehearsal Schedule, Performance Schedule, Public Contact Sheet, Daily
Rehearsal Schedule, Notes & Miscellaneous
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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 emailed files when
necessary
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Move into the performance space
PREP PEFORMANCE SPACE:
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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
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Set dance numbers, glow tape, water stations
Do a dark walk-thru the space before actors arrive to address any
safety issues
Be aware of musician union requirements and time restrictions
Production Meetings
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There should not be any changes to a show once it has
opened, unless there is a major problem.
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Coordinate with House Manager
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Coordinate with Crew
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Give notes to actors/crew as needed
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Send daily performance reports
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Maintain the integrity of the show and the director’s
vision.
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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”
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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
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Personalize paperwork
Substituting Crew Members
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Follow music score instead of script
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ASM cues performers to go onstage
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Maestro/Maestra
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Performers come to the first rehearsal with the part memorized
completely
Fewer performances – shorter run
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Changes in rehearsal schedule, performance schedule
More double casting
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AGMA contracts
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Standard repertoire…
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La Boheme, Aida, Carmen, La Traviata, Marriage of Figaro, Magic Flute, Barber of Seville
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**AEA – Actors’ Equity Association – musical
theatre, Shakespeare, drama, LORT theatres,
Broadway, Off-Broadway, etc.
www.actorsequity.org
**AGMA – American Guild of Musical Artists –
opera, ballet and dance, vocal concerts
www.musicalartists.org
IATSE – International Alliance of Theatrical Stage
Employees - crew
USA – United Scenic Artists - designers
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Resume
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Cover Letter
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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
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Clean, precise, informative
References
Know your strengths and weaknesses before every interview!
Be articulate, present yourself well, have a sense of humor.
CONTACTS, CONTACTS, CONTACTS!
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Production Managers
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Wedding Coordinators
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Corporate Event Planners
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Fashion Industry Managers
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Television/Film Industry Stage Managers
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Books:
The Backstage Guide to Stage Management, Thomas A. Kelly
 Stage Manager: The Professional Experience, Larry Fazio
 The Stage Management Handbook, Daniel A. Ionazzi
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Programs:
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USITT Stage Management Mentoring Program
Shadow Touring Shows
Online Resources for Jobs
Backstagejobs.com
ArtSearch - www.tcg.org (must be a member)