Stage Management Manual - Longwood University Theatre
Hello, and welcome to Longwood University Theatre’s stage management manual.
The purpose of this manual is not to simply give you all the answers. Rather, it is
here to aid in the your development of proficiency and professionalism as a stage
manager. Stage management, from the outside, seems like an easy gig. You sit at
rehearsals, you take notes, you do it again the next day. However, once in the
situation, you will see that the position is not quite as simple as it seems. With
preparation and drive you should be able to succeed.
On the left side, there is a navigation bar. These links will take you to different
parts of the production process: pre-production, rehearsals, technical rehearsals,
and performances. Along with those links, there are links that pertain to other
aspects of being a stage manager: stage manager’s kit, prompt book. Also, the
production contracts have been made into pdf files that can be downloaded.
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Stage Manager's Kit
The Stage Manager’s Kit
Introduction
The purpose of the stage manager’s kit is to ensure that an emergency can be
dealt with quickly and efficiently at a rehearsal or performance. Whether that
emergency is a sprained ankle or a broken pencil, a good stage manager’s kit
will cover all the bases. The following will feature one example of a stage
manager’s kit.
Remember - there is not a single set way of creating a kit. But, the following
guidelines should help you get started.
Contents
The following is in my kit:
Healthcare:
Other:
Hardware:
Aspirin
Cough Drops
Kleenex
Lotion Samples
Floss
Ace Bandage (Self Adhesive)
Wet Wipes
Tampons
Pads
Hand Sanitizer
Flushable Wipes
Brush-Ups
Cotton Pads
Mouthwash
Nail File
Nail Clippers
Chapstick
Midol
Ibuprofen
Benadryl
Antibacterial/Neosporin
Tums
Instant Cold Packs
Mints
Hard Candy
Hem Tape
Lint Roller
Spike Tape (Multiple Colors)
Glow Tape
Bobby Pins
Tide To-Go Pen, Shout Wipes
Deck of Cards
Phone Card
Batteries
Lighter
Crazy Glue
Eyeglass Repair Kit
Measuring Tape
Wire
Safety Pins
Miniature Sewing Kit
Spare Change
Clear Nail Polish (Fix Runs)
Spare Buttons
Flashlight
Miniature Hammer
Screw Driver
Nails
Various Hardware
Wire
Office Supplies:
Pencil Sharpener
Thumb Tacks
Paperclips
Binder Clips
3-Hole Punch
Stapler and Extra Staples
White-Out
Hole Re-Enforcers
Erasers
Lead Pencil - Lead
Pens
Highlighters
Pencils
Keep in mind that the kits main use is to support the actors and crew in any
way necessary. However, as it is your kit, it is also for personal use. Mints
are not an absolutely necessary item, but I enjoy having them around for my
own personal benefit during longer rehearsals or after a lunch break.
My prompt book is also a place where things are stored. Although it is more
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Stage Manager's Kit
for personal use, things like an extra pencil sharpener, post its, flag tabs, etc,
can all be placed in a pocket pencil holder in the front of the prompt book.
I also keep my metal ruler and (miniature) scale rule in my prompt book.
Some people put these things in their kits, but I rather have those tools in the
book as that is where they will be used most often.
Personally, I put my own chapstick and other such items in the prompt book
also. It’s my own personal pet peeve - calling a show with chapped lips. It
may sound silly, but it’s come in handy more than once.
Organization
The organization of your kit should be done so that you can find something
in a moments notice. My kit is organized in a few different ways. It mostly
depends on the type of box you start with.
My box is rather plain and was very affordable. I bought the box at a
Walmart and it cost around $10 - $15 at most and it works for me. Check in
your local sporting goods store or other such establishment - if you look and
price things out, you will find a good deal.
My box has two compartments on the top of the box and 3 trays in the
front. Inside the box there are 3 removable organizers and ample empty
space on either side.
The trays on the top I use for those small items used most often: cough
drops, mints, etc. Those are spur of the moment type items that you don’t
always feel like fumbling around for.
The front compartments play the same sort of role: tissues, wet wipes, pencil
sharpener, etc.
On the inside, the 3 organizers keep 3 different types of things: healthcare,
office supplies, hardware. It is easier to find something if you know where
to look. Need a band-aid? You know it’s in the healthcare organizer. Need
a binder clip? You know it’s in the office supplies organizer.
Then, in the empty spaces next to the organizers is everything else. On the
left, I have 3 of those slide out plastic pencil holders. One holds pencils,
one holds highlighters, and one holds pens. On the right I have things like
tape, the lint roller, etc. Organization of your kit depends highly on the type
of box you get. But, as a general rule, keeping those things that are most
important easily accessible is a good way to go.
Other Examples
The initial cost of the stage manager’s kit can be costly. However, if you
build it up slowly, it is not that bad.
One way I stock my kit is from free samples. It is amazing what you can get
from companies or other such venues. One year there was leftover care
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Stage Manager's Kit
packages for foreign exchange students, and I received all the extra packages
that were leftover. Because of those care packages, I have not had to restock
on hand sanitizer, cough drops, or tampons in a couple of years. Free
samples are also a great way to get new things for your kit. Before those
care packages, I never had lotion or chapstick in my kit. However, if it is
free, why not add it to your kit? Both those items have come in handy more
than once already - you just never know.
How you build your kit and what you put in it is entirely up to you. Since I
developed my first kit, it has constantly been in a state of development. As
you stage manage and get more experience, you will see what is necessary
and what is not. Your kit will change and morph as you develop as a stage
manager.
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Pre-Production: Auditions
Pre-Production: Auditions
Preparation
When preparing for auditions, it is best to meet with your director first. This
meeting with the director will give you what you need to prepare for
auditions: type, space preferred, dates, etc. Once all this information is settled,
it is time to secure a location and get notice out. First, go and talk to the
technical director/facilities manager to secure the audition space. Typically,
auditions are held mid-week. Having auditions mid-week allows for a number
of things. Mainly, it allows for technical sign-ups to occur at the end of the
week. More information on that can be found here. Also, having auditions on
a Wednesday allows for callbacks on the Thursday (if deemed necessary), and
still allows room for technical sign-ups on the Friday. Think ahead when
scheduling - a few extra minutes of careful planning will save you a lot of
time and headache later in the process.
Now that you have secured a space, it’s time to get the word out. Audition
posters should include the following information: time, date, place, contact
information, audition type, show name, etc. Again, just think it through. If
you were not a major, what would you need to know? Here is an example of
an audition poster:
Click on the photograph to
enlarge.
Download the PDF here.
Make sure that you publicize the auditions to not only theatre majors, but to
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Pre-Production: Auditions
everyone is welcome, so make sure word is out. In order to post in these
buildings, make sure to go and get your posters stamped at the student union
with the “Approved for Posting” stamp. If you do not, your posters will be
taken down.
At this point you have secured a space and publicized the auditions - it’s on to
paperwork. You will need the following paperwork for auditions: sign-in
sheet, audition information form, and audition piece copies.
Click on the photograph to enlarge.
Download the PDF here.
Some paperwork is specific to audition type. Some directors prefer to have
closed auditions. With this type of audition, actors are asked to wait in a
holding area prior to being brought into the audition space 1 or 2 at a time. So,
a sign-in sheet is most definitely needed. However, in an open audition where
everyone is allowed in the audition space, a sign-in sheet may be less
necessary. Also, some directors would prefer for actors to have a short
monologue prepared, while others would prefer to just hear cold readings.
Both of these would involve entirely different photocopies to be made. Talk to
your director and figure out exactly how they would like auditions to run and
then make your paperwork accordingly.
Audition Day
I am not one to be late or unprepared, so I arrive early to all auditions,
rehearsals, performances, etc. Setting up for auditions is not difficult. Set-up
is also space dependent. If your director decides to do the auditions in a
classroom, the set-up will be rather minimal. If the auditions are in the
theatre, then set-up is a little more time consuming (tables, chairs, light, etc.).
If it’s a closed audition, note that you will need a table in both the holding
area and audition space. If the audition is cold readings, you may need a table
to hold the scripts. So, prepare and plan for your space and type of audition
as they will differ from show to show and director to director.
I am partial to the closed audition in the theatre. With this type of audition, I
would set up a table in a holding area (preferably the lobby). At this table I
would put one of my assistant stage managers. They would be in charge of
signing in all actors, having them fill out information sheets, and keeping
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Pre-Production: Auditions
those waiting quiet during auditions. My other assistant stage manager would
sit in the back of the house or with me (who is next to the director). They
would act as the runner between the spaces. As we finish with the current
group auditioning, they would run and inform the assistant stage manager in
the lobby who would get who is needed next. As the auditions progress, the
director can ask certain people to wait around to read again. After going
through the entire list of actors, those who have been asked to stay around all
come into the theatre together and take a seat. So, the closed audition has now
transformed into an open callback, basically. This allows for all casting to be
done in a single night - quickly and efficiently. This is not the only way to do
auditions, but this is the method I felt has worked the best thus far.
After auditions are over, many directors enjoy discussing the auditions with
the stage management team. This is a privilege that not all students get to
experience. Remember that all things said in this meeting are confidential and
not to be repeated to anyone. In this meeting, the cast will be decided. This
list should be typed up and posted the following morning on the callboard
before 10:00am. Here is an example cast list:
Click on the photograph to enlarge.
Download the PDF here.
Note that information regarding tech sign-ups, first rehearsal, etc, can be
found on this cast list posting. All the information is presented to the actor in
one place so there can be no missing the information.
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Pre-Production: Tech Sign-Ups
Pre-Production: Technical Sign-Ups
Preparation and Implementation
Technical sign-ups are typically held the Friday following auditions. As
auditions are most often on a Wednesday or other such mid-week day,
technical sign-ups are conducted following the posting of the cast list so that
actors who did not make the show can still be involved (just in a different
capacity).
Most often, sign-ups occur in the late afternoon in the theatre. Starting at
around 3:30pm and ending around 5:00pm, most people can make it during
these hours. Make sure to post a notice of the sign-ups at the theatre and on
the callboards, including a way to contact you if they are unable to attend.
Here is an example tech sign-up poster:
Click on the photograph to enlarge.
Download the PDF here.
For larger shows, I also post the sign-up notice in the student union and other
areas around campus. Although the turnout from these notices may not be
many, it is still worth it to get the notice out to the campus. Also, if you ask
the theatre secretary, a notice can be sent out to all majors regarding tech signups. This can be done at the same time as the auditions notice. This ensures
that no one can claim they were unaware of the sign-ups.
What is needed for tech sign-ups is minimal: a table, pens/pencils, an empty
classroom, and the tech sign-up form.
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Pre-Production: Tech Sign-Ups
Click on the photograph to enlarge.
Download the PDF here.
Often times, as a stage manager, I would have my assistant stage managers
come to the sign-ups also. It is boring sitting in a room by yourself for a
couple of hours, so the company is nice. But also, remember that your
assistant stage managers are in training to become stage managers. They
should be included in every aspect of the production, including the not as
exciting parts such as tech sign-ups.
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Pre-Production
Pre-Production
Pre-production is the time to get your paperwork in order before things get
busy. Take those free nights you have before going into rehearsal and type
your script, create paperwork, etc. As you won’t have this free time further
along in the process, take advantage of it now.
It is also important to put scripts out for actors to read prior to the audition.
The most convenient and accessible location is in the secretary’s office. In a
basket or box, put the scripts (numbered) and a sign-out sheet that requires
people to provide their name and contact information. Before auditions, make
sure to get these scripts back so that those who are cast will get scripts.
The most involved parts of your pre-production work are auditions and tech
sign-ups.
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Rehearsals
Rehearsals
Preparation
In preparation for rehearsals, it is important to have a meeting with your stage
management team. In this meeting, discuss exactly what you expect from your
assistants. Keep in mind that even though they are your assistants, they are in
training to become stage managers. So, give them responsibilities that will help
them learn. For example, after the first few weeks of you typing up the
rehearsal reports and sending them out each night, have one of your assistants
take over that responsibility. You are still mentoring them through the process,
but is now their duty to ensure that the report is properly done each night.
Basic housekeeping duties should also be done at this time: cleaning up and
creating any additional paperwork and forms, creating a mailing list (for the
rehearsal reports), ensuring rehearsal spaces are secured, taping out the set, etc.
Much of this can be done during pre-production, but those things that aren’t as
urgent can be done during this time.
Full Company Meeting
I prefer that a full company meeting be held with everyone involved in the
production prior to the first rehearsal. In this meeting, all technicians and
actors come together. The director gives a small speech about the show along
with any designers who wish to give a small presentation or other such talk in
regards to the production.
After the general meeting, crew contracts are handed out to crew heads and the
different departments have their own individual meetings. Contracts can be
immediately signed and handed back to stage management. As far as contracts
go, this makes stage management’s job much easier - why run around and hand
out a ton of contracts when you could do it all at once? After this, a readthrough could potentially be scheduled. Technicians would be invited to stay if
they chose so they could follow along or hear the show. This meeting is up to
the discretion of the stage management team and director, but for my
experience, it has proved very beneficial.
Daily
Rehearsal reports are the main daily responsibility of stage management.
Through these reports, the different departments are kept up to speed on the
happenings of the production. More information on rehearsal reports can be
found here. It is important to do a walk around each day and talk to each
department: see what they are building in the shop, see the progression of the
costumes. You need to know everything you can about each technical aspect of
the show. These walk arounds will make your presence known to the technical
crews and keep you up to speed on everything.
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Rehearsals
It is also important to keep your paperwork updated daily. Things will
constantly be changing, and your paperwork needs to change with it. Out of
date paperwork is useless.
Weekly
Different directors work differently as far as schedules go. Some directors love
to have everything laid out in the very beginning as far as the schedule goes.
Others will want to do it on a daily basis. I do not enjoy the day-by-day
schedule what-so-ever. If possible, I like to be able to schedule things week by
week. I would prefer it all be done in pre-production, but that is hardly ever
possible. Week by week gives the cast at least a week’s notice on rehearsal
schedules. Any less would not be fair to those involved. We ask the actors to
respect us and our time, the least we can do is respect their time and give them
a schedule a little bit in advance.
Production meetings are also important to have weekly. When run effectively,
a lot can get done in production meetings. In the meetings, the director and
each department head is asked to give a brief synopsis of their work that week
and address any questions they may have. This weekly meeting happens so
that everyone can get on the same page. As I said earlier, this meeting can be
very production or not very productive. Develop your own effective way of
running production meetings.
The Rehearsal Process
There is no set way to run a rehearsal. It is up to you to find the format that
works best for you. I like to get to rehearsals at least half an hour early. It does
not take nearly half an hour to get things together for rehearsal, but the extra
time is nice to relax and get in the mind set. Actors do warm-ups and rehearse
lines - I like to sit there and relax in my spot for a bit before starting rehearsal.
There’s no sense into rushing to the space, setting up things in a rush before
call, and then being stressed at the beginning of rehearsal. Even though it is not
always possible, I like to relax and take my time before rehearsal. This is also
a time to talk to your stage management team. Talk to them; see how they are
doing. Yes, you are there to do a job and emotions and outside stressors should
not matter - but they do and talking to your assistant stage mangers before
rehearsals start could help alleviate some of that stress.
Set-up will depend on the production and the director. For the most part, most
directors will like to have a table set up where they and the stage management
team will sit. Talk to the director prior to rehearsals to see how they would like
the set-up to be. Also, talk to the director about open versus closed rehearsals.
Most directors do not have a problem with open rehearsals unless there is very
emotionally difficult material or nudity involved. You and your director can
decide on these rehearsals while scheduling.
Crew watch should be scheduled at least the week before technical rehearsals
start. This ensures that designers can see what they need to see before tech
starts. Often times crew watch is schedule very close to tech rehearsals. This
does not allow any time for the designers to program cues or prepare at all. So,
make sure that crew watch is scheduled for a time that suits the needs of
everyone involved.
During rehearsals, the first responsibility I give to my assistant stage managers
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Rehearsals
is to track of all the blocking given in rehearsals. This guarantees that they are
paying attention and keeping on track during the show. It is also good
experience for anyone because it makes you practice your blocking notation.
Every person has their own blocking notation. A sample of mine can be found
on the prompt script page. There is not a single, set way to write down
blocking. Develop your own notation: just remember it has to be fast, easy,
and uncomplicated.
Line notes are also a responsibility I generally hand over to the assistant stage
managers. I would like to say that I have found and developed the best way of
doing lines notes. I can not say it because I have yet to find a way that I really
like. I have tried everything from marking flub ups and mistakes in the
rehearsal script itself and giving lines notes to everyone at the end notes. I
have tried slips of paper handed out at the end of the night. Nothing I have
done thus far has seemed to be effective. So, experiment with different
methods until you find the one that works for you and that particular
production.
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Technical Rehearsals
Technical Week
Preparation
Preparing for technical week is probably one of the busier times for a stage
manager because this is when the show is starting to be completely handed
over to you.
Much of the preparation that is needed involves the completion of paperwork:
sign-in sheets, scene shift plots/running sheets, checklists. All these things
need to be completed prior to the first technical rehearsal so that things can run
smoothly. Missing any one of these things will only cause more work for you
at a point where these is no extra time to deal with these things.
Click on the photograph to enlarge. Download the PDF here.
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Technical Rehearsals
Click on the photograph to enlarge. Download the PDF here.
Also, in preparing for tech rehearsals, you may find that everyone is stretched a
little thin. So, taking care of the smaller things could fall into your lap: setting
up run lights, headsets, property tables, quick change areas, God mic, etc. By
helping to take care of these smaller projects, you are ensuring that tech week
will go that much better. It may be that you do not have to take charge and
help with these projects (smaller show, extra time), but note that you must still
check to make sure they are done.
In preparation for your first tech rehearsal, your prompt script is also going to
be going through some drastic changes. At paper tech you will be getting all
the light and sound cues for the first time. Taking care of my prompt book
always takes longer than I think. Make sure you allow more time than you
think in order to get it done.
Much like the stage management team meeting that you had in preparation for
rehearsals, a and
run crew
meeting
could be a good idea before going into technical
Technical
Dress
Rehearsals
rehearsals. If guidelines and expectations are laid out prior to rehearsals, there
Typically,
technical
rehearsals
startlater
on the
Friday
evening before
will
be questions
regarding
theirwill
duties
on in
the process.
opening. On that Friday, often times a basic cue to cue is done. Truly, it
depends on the show on that kind of tech is done that day. For simple shows,
a run through could be in order. For more complicate shows, maybe it is
simpler to do a cue to cue first just to get a feel for what is going on. Look at
the scale and difficulty of your show and then decide what kind of tech is in
order. Sunday afternoon is usually the first dress rehearsals. Prior to this
dress rehearsal, make sure to talk to the costume designer about call times
and other such important information. If the costume designer needs people
called at staggered times starting 3 hours before go, but you call everyone in 1
hour before go, then they are not going to be happy and your dress rehearsal
is going to take twice as long as it should. Communication is the key to a
successful tech/dress rehearsal If you communicate with your designers and
actors and cater to their needs, everything will go better. I could write a set
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Technical Rehearsals
schedule on here on how things are normally done, but it truly depends on the
show and the team. So, communicate and come up with a schedule that
works for everyone. You don’t always have to stick with that is “normally
done” if that is not what is best for the production.
A post-run technical staff meeting has always proved beneficial for me. Like
a mini-production meeting, it ensures everyone is on the same page. It may
last 2 minutes, it may last 20. But, a wrap up is always a good idea.
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Performances
Performances
Daily
Performance Reports
Performance reports are important to complete after each performance.
However, they are not as important as the follow-up that should follow that
report. If you asked any department a question in the report, you should go
to the department the following day and talk to the person in charge to get
your answer. Many times, important questions are asked in the report and
an answer is never received. Take the initiative to go to the person directly
to get your answer.
Performance reports are almost identical to rehearsal reports, just with a
few minor differences. Make sure to include run times, house count, and
any other important information.
Pre-Show
Sign-In Sheet
A sign-in sheet should be posted for actors and technicians to sign-in. This
is simply for convenience. It is easier to look at a sheet a paper and know
who is and who is not here at a single glance than it is to run around the
theatre trying to find everyone. This system also ensures promptness. If an
actor does not put their initials on the list on time, then they are considered
late and fined accordingly. At the actors call time, I will sit by the
callboard where the list is posted and make sure everyone is on time. If
they do not sign-in on time, I tell them they are late and how much the fine
is. Yes, a minute late is not a lot of time. However, once you let one
minute slide, then the next time it will two minutes. Then after that, they
are there, but forget to sign-in. Then they are five minutes late, etc… If
you start off laying down the rules and enforcing them heavily, then the run
will be a lot smoother and easier. However, if you present the rules and
don’t enforce them, they run will be sloppy. It sounds simple, but it is true
and should be kept in mind throughout the production.
Pre-Sets, Checklists, and Pre-Show Checks
The hardest part about running a show for an extended period of time is the
idea of not getting lazy. Once we are comfortable with something, we get
lazy - consciously or subconsciously. Make a conscious effort not to get
lazy. This is where checklists come in handy. Make sure the pre-show
checklist is completely filled out every single night. If someone does not
check something off, then consider that job incomplete and find the person
who is supposed to do that job and get them to check off on it.
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Performances
Make sure to check everything during pre-show. If you have a checklist
system in place, then this job is a bit simpler. But, it is always important to
double check that everything in complete.
Intermission
House Management
Keeping a line of communication open between you and house
management is very important. When it is time to open house, make sure
you are in contact with house management. When it is nearing the end of
intermission, make sure you are in contact with house management. The
show can not go on without them, so make sure you are available to them at
the correct times.
Post-Show
Strike/Reset Show
Once the house has cleared, it is time to strike and reset. Some things can
be reset each night for the next performance. However, some things must
be struck and put away each night. Double check and make sure that
everything is where it is supposed to be before you leave. This brings us to
the rule of “first in, last out.” How can you make sure that everything is
back where it is supposed to be if you are not the last to leave? Double
check after everyone - locks, doors, equipment. Even if you have an
amazing crew, it never hurts to check. It covers your behind and ensures a
good production.
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Prompt Book
The Prompt Book
Introduction
The prompt book is the end all, know all of production information and
paperwork. Anything that is relevant to the production should be included in
this book. My philosophy, when creating this book, is that I should be able to
hand this book over to anyone and they should be able to find what they need
in a moments notice. A clean and organized prompt book is not hard to create
and maintain once you have developed your own method.
Organization and Paperwork
The Basics
I have two different prompt book methods I use - an educational theatre
prompt book and a professional scale prompt book. The differences are few,
but each method has been developed because they work better in their
respective situations. In educational theatre, I have one binder (usually a
black, 3” binder, with a clear cover on front, back and sides). In this binder
goes every piece of paperwork and the prompt script. Usually productions
at this level are done for short runs and no long term methods need to be
developed.
On the professional track, this binder is simply split into two. In one binder
goes all the paperwork and the rehearsal script (and any librettos or other
such paperwork). In the other binder goes the actual prompt script. I do this
so I can leave the prompt script in the stage manager’s booth on a daily
basis. If I were to get into an accident or other such emergency and was
unable to call the show, the calling script would be easily found and called
from. The other book contains everything I would need to complete the
other aspects of the job - write rehearsal reports, etc. This method also
works if multiple shows are running simultaneously (as is often done in
summerstock theatres). Each show can have its own binder that is brought
to the show each night, but all prompt scripts are left in one binder in the
booth.
Develop a method that works for you. These methods are what I have
found work best for me, but everyone is different. You may find that you
hate having your prompt script in a different binder, and that is fine.
Experiment until you find a method that fits your style.
Starting the Prompt Book
There are three things that I do at the start of any show:
One: Type the Script
Two: Pick a Show Font
Three: Make a Prompt Book Cover
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Prompt Book
The purpose of the first is not only to help create a prompt script later on,
but to familiarize myself with the script. I am more of a hands on person, so
typing the script helps me to learn the show.
Picking a show font sounds stupid, but I can not do any work on the
production until I have chosen a font. It is sort of like a designer thing - I
must find a font that fits the feel of the show. Then, I use that font on all
show documents and paperwork. It is a small thing, but it really does help
me.
Making a prompt book cover is probably my favorite of the three. Again, it
is something little, but it makes a world of difference to me. My prompt
book would not be complete without a custom cover.
The common thread through all these tasks is that they help me familiarize
myself with the show. If someone were to define what a stage manager’s
job is, they probably would not classify it as a designer-type position. So, to
them, picking a font or designing a prompt book cover may seem pointless.
However, a stage manager’s job falls into all aspects of theatre management, design, publicity, etc. To call a show, a stage manager must
understand the flow and structure of a production. Without that knowledge,
the calling would seem haphazard and disjointed. It takes a bit of a
designer’s eye (and a little bit of telepathy) to call a really good show.
The Table of Contents
Here is an example of the layout I use for my prompt book’s table of
contents:
Click on the photograph to enlarge.
The PDF can be downloaded here.
My prompt book is typically divided into the following sections and
subsections:
Emergency Information
1. CPR
2. First-Aid
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Prompt Book
3. Fire
4. Hospital Directions
5. Accident Reports
6. Emergency Numbers
Production Materials
1. Check Lists
2. House Announcements
3. Photo Call
4. Performance Schedule
5. Scene Shifts
6. Rain Shows
7. Substitutions/Tracking
Cast Information
1. Contact Sheet
2. Cast List
3. Sign-In Sheets
4. Cast Information
5. Script Checklist
Rehearsal Information
1. Schedule
2. Schedule Conflicts
3. Rehearsal Reports
4. Production Meeting Reports
Technical
1. Scenic
2. Lighting
3. Sound
4. Costume
5. Properties
6. Choreography
7. Other
Rehearsal Script
These are the sections and subsections for a show I am working on
currently. It is a show at a medium sized outdoor amphitheatre. So, at
Longwood, you will not need a section for “Rain Shows” as I have listed
above. Take these sections and make a list of paperwork that will be
necessary for your production and make your subsections accordingly.
Organization of my prompt book is very important. Once I have my sections
and subsections, I get office supplies that will help create these sections.
Typically, for the sections I use acetate sheet protectors with black cardstock
inside (for weight). On these sheet protectors I attach divider tabs. Then, for
the subsections, I use regular tabbed dividers. The dividers do not stick out
quite as far as the acetate sheets, so they are most definitely internal of the
different sections. I also put my table of contents in an acetate sheet in the
front of my prompt book (so it is at the same “level” as the section pages).
Also in the front, I place a pencil pouch with the necessary materials. More
information on the materials kept in this pouch can be found on the stage
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Prompt Book
manager’s kit page. Along the edge of the binder I also keep extra binder
clips and post it notes for quick access. A prompt book is all about
accessibility. If you know where everything is and it can be accessed easily
than your prompt book is organized successfully. If you go through and see
that your system should be adjusted here and there, do it. Success will only
come after a few failures. Don’t get frustrated if your first few organizational
methods do not work out - eventually you will come up with the system that
works the best for you.
For more information on the prompt script, click here.
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Technical Rehearsals: Paper Tech
Paper Tech
Paper Tech is generally held at the final production meeting before technical
rehearsals start. The meeting is held at the same time as the production meeting,
but generally only involves the stage manager, sound designer, lighting designer,
and anyone else who would potentially need to provide cues for the production.
The meeting runs as follows:
Each designer will give the stage manager their cues. As you go through the
designer’s list, write the cues into your script. This is the time to get all the
nuances down. Which word of the sentence would you like the cue to go? It is
these subtle differences that will make calling the show that much better.
Also, often times the lighting designer will give you a print out of all the lighting
cues. This print out will also include all the fade times and other such important
information. All this information will be helpful when you are creating your
final prompt script.
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Performances: Photo Call
Performances: Photo Call
Preparation
There are many ways to approach photo call. One approach is the list creation
way. A few days prior to photo call, hand out “surveys” to all designers.
These surveys will ask them which moments they would like to add to the
photo list. Upon collecting these “surveys,” you will sort them and create a
master photo call list.
Another approach is to create a list prior to photo call and go to all designers
individually and have them approve the list. The stage manager knows the
show better than anyone else, and because of this, most designers will simply
pass on the opportunity to help create a photo list and just give a general idea
of what they want to the stage manager. This is the path most often taken for
photo call as it is the most efficient line of attack.
Making the list itself is simple. Usually during the dress rehearsals, I keep a
pad of paper next to me and I look for “moments” in the show. Once I compile
a list of these moments, I go through and figure out which ones are necessary
and which ones are not. When I create a list, I make sure each and every
costume and character has a picture. Also, for the most part, I try and get one
picture from each scene. This ensures that every set piece is in at least one
shot. Props and other such items should also be remembered. The props
master will not be very happy with you if you skip over the scene with their
handmade oversized gavel. An example of a photo call list can be found here.
Notice all the different parts to the photo cal list: photo number, act/scene, light
cue number, characters on stage, moment. Other sections can be added when
deemed necessary. In this particular photo call, scene shifts were noted within
the list. This could have easily been transformed into its own column. Same
thing with the releasing of actors. Again, this is noted within the list on this
particular version, but it could be its own column.
When making a photo call list also keep in mind the order in which photos are
taken. Typically, we work backwards through a show. This makes life easier
as far as scene shifts and other such aspects go as the stage is already set for the
last scene. Sometimes, however, this way may not be the easiest. For smaller
plays with a box set or some other sort of stationary unit, it may prove easier to
bounce around - using the ensemble and smaller characters first and sending
them home and then focusing on the main characters scenes. It is hard to state
definitively what works the best for a photo call, as what works best is show
dependent. Look at the structure and flow of your show and create a list based
on that.
Below is an example of a photo call sheet for a rather simple show where there
was not a lot of movement and everyone was needed the entire time:
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Performances: Photo Call
Click on the photograph to enlarge.
Download the PDF here.
Now that you have your photo call list made, make sure to post the list for the
actors and technicians. Usually, one goes on either side of the proscenium
backstage (or other easily accessible and visible place), the greenroom (and any
other dressing room being used), and the callboard. A copy should also be
physically handed to the assistant stage managers and light board operator as
they all play a large role in photo call.
As far as technology goes, make sure the God Mic is set up during your preshow check that day. If you are unsure of how to set-up the God Mic, make
sure you talk to the technical director before hand.
Typically, the photo call is conducted on the Thursday of the production run. It
is done this day for a number of reasons. First of all, doing the photo call so
early in the run ensures that documentation of the costumes, set, and other such
things can be taken before they are ripped, peeled, broken, etc. Secondly,
Thursday night houses are typically smaller than most and generally family does
not come on this night. This allows for the house to be cleared quicker and
photo call to start sooner. All around, Thursday is the easiest night to have
photo call. However, it can be changed if you deem it necessary. Make sure to
inform all parties involved (including designers and other such people) of when
you decide to hold photo call.
Calling
Calling photo call should be simple, as long as you are prepared.
Typically, once the house is cleared, the stage manager will get on the God Mic
and announce that all actors and technicians may come out from backstage and
get ready for photo call. At this time, talk through the photo call with the
actors. Tell them they way you will announce the pictures and ask if there are
any questions. If there are none, then proceed with the photo call. Most often,
actors are asked to sit in the house during photo call for easy access to the
stage. Sometimes, however, this is not possible. Depending on the costumes
and size of the show, it may be preferable to have actors backstage. Again,
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Performances: Photo Call
take a look at the structure of your show and see what would work best.
Usually, photo call is called in the following way:
“Ok, up now is Act 1, Scene 5. Marlowe and Genevieve, on the line “My
darling brother, let us have a party. On deck is Act 1, Scene 4. Mrs. Paroo and
Ren in the Burger Blast, on the line “I can’t stand still.”
“And, freeze.”
“And, unfreeze. Thank you.”
This calling structure should work for most photographs.
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Performances: Strike
Performances: Strike
Preparation
During strike, the stage manager’s main responsibility is to check in and out
all majors. This is done with times cards - each major and person involved in
the show should have their own card. Ask the technical director or technical
professor for these times cards prior to strike.
During strike, you will also be dismissing those involved with the show for an
hour dinner break and ensuring that they arrive back in a timely manner. You
will also be keeping an eye on the house. When people are not in use during
strike, they are to sit in the house of the theatre. As you see more and more
people idle, check in with the technical director and see if you can start
sending people home. Although the show is over, you are still the liaison of
communication between the different positions and departments.
More or less responsibilities may be bestowed upon you during strike - it
depends on the scale of the show and technical director. Remember to remain
flexible and aware of what is going on at all times.
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Contracts
Contracts
Below are the PDF versions of the production contracts:
Actor
Construction
Costume
Electrics
House Management
Properties
Running Crew
Scenic Painting
Sound
Stage Management
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Audition Poster
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Audition Poster
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AUDITIONS
For The Wizard of Oz
st
Wednesday, March 21
7:00pm, Jarman Auditorium
Cold Readings will be
done from the script.
Callbacks will immediately follow
the first round of auditions.
Questions, comments, concerns?
Contact Kate (Stage Manager):
(240)315-6795, kcw720@longwood.edu
Audition Information Form
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Audition Form – The Wizard of Oz
Rehearsals will begin immediately.
The performance dates are April 20th - 24th.
Name: ___________________________________ Year in School: ______________
Major: ______________________ GPA: ______ Phone Number: ______________
E-mail: _________________________
In the space below, please identify any conflicts (night classes, activities, work
schedule, etc), or other information you wish to provide. Use the back if necessary.
________________________________________________
________________________________________________
________________________________________________
________________________________________________
________________________________________________
Audition Form – The Wizard of Oz
Rehearsals will begin immediately.
The performance dates are April 20th - 24th.
Name: ___________________________________ Year in School: ______________
Major: ______________________ GPA: ______ Phone Number: ______________
E-mail: _________________________
In the space below, please identify any conflicts (night classes, activities, work
schedule, etc), or other information you wish to provide. Use the back if necessary.
________________________________________________
________________________________________________
________________________________________________
________________________________________________
________________________________________________
________________________________________________
Carolina! The Musical – Cast List
Thank you to everyone for auditioning. If you were not cast in this
show, please consider trying out for our next production or signing up to
do technical work. Thank you very much.
To accept the role, please initial next to your name.
Diane:
Felicity Jones
Sylvester:
Clark Franklin
Robert:
Seth Krass
Walter:
Anthony Soprety
Lindsey:
Roberta Wallis
Kate:
Alissa Grips
David:
Frederick Porter
Male Ensemble:
John Trapper
Lorenzo Bowman
Nick Serty
Female Ensemble: Karen Walker
Jen Marsters
Cara Young
There is a mandatory meeting/rehearsal/read-through for the entire
cast on Tuesday, January 22nd. Location and time will be
announced – check your e-mail. Thank you.
Please, pick up your scripts from Kate today at tech sign-ups from
3pm – 4pm in Jarman 026. If you are unable to make it during that
time, please contact Kate.
Kate Wackerle – Stage Manager – (240)315-6795 – kcw720@longwood.edu
Interested in costumes, construction, or painting?
Want to work on a production in the theatre?
Come to:
Tech Sign-Ups
For The Wizard of Oz
rd
Friday, March 23
3:30pm-4:30pm
Jarman Auditorium, Room 026
Questions, comments, concerns?
Contact Kate (Stage Manager):
(240)315-6795, kcw720@longwood.edu
Tech Sign-Ups Poster
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Technical Sign-Ups Form
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Technical Sign-Ups Form
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Rehearsal Reports
Rehearsal Reports
I like to do two different rehearsal reports a night: one for actors and one for
technicians. There is no need for the actors to get all the notes that the
technicians get and vice-a-versa. With less clutter, my hope is that the different
sides will be more inclined to read the whole thing and not skip over the things
that they feel do not pertain to them as it all does.
Click on the above photographs to enlarge.
PDF versions can be downloaded here: Technical, Actor.
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Rehearsal Reports
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Prompt Book: Prompt Script
The Prompt Book: The Prompt Script
Introduction
Once you develop a system, putting together a prompt script is easy. There
are many different approaches you can take in making prompt scripts. Some
people take a blown up version of the script or libretto (a photocopy) and
simply write in cues as necessary. Others will initially type up the script and
then just write in all the blocking and cues.
For me, when I first started off my prompt scripts were done by hand (typed
script with written in cues and blocking). Then, after developing a better
system, my prompt scripts became electronic. I have not gotten to the point
where I am comfortable enough to call the show from my computer, but
either way, the typed cues and blocking look very neat and professional.
Organization
Below is an example of the first page of my prompt script from Longwood
University Theatre’s production of The Exonerated.
Click on the photo to enlarge.
In the above example, I direct your attention towards a few key points.
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Prompt Book: Prompt Script
First of all, the “cue reminders.” These tiny, parenthetical reminders are just
there for you. In these reminders I type a short reminder of what the cue does,
and if it is a light cue, the fade time. For example, let’s look at the first cue.
“L1 GO” All light and sound cues are typed “L#” and “S#,” respectively. So,
“L1” would mean “LIGHT CUE 1”. Now, what does this cue do? Take a
look at the reminder to the left. “(PRE-SHOW; FT=3)” So, this cue is
obviously the cue to be in for pre-show. “FT,” or fade time, is not as
important for this particular cue (as it is not actually called during the show,
but up before the house is opened), but it can never hurt to have too much
information - you never know when it will come in handy.
Let’s look at a more complicated light cue: “L5 GO” In the parenthesis we
see “(1 ST X , LINKED, FT=4,10)” In this, a little more shorthand is being
used. Along with the “FT” (fade time) we saw earlier, we have an “X” and a
“ .” This should read: “first cross downstage.” So, this cue should be called
when the first round of people cross downstage. The second half of this
“LINKED, FT=4,10” is a reminder that although light cue 5 is being called,
the cue is linked. A linked cue, simply explained, is a cue that contains
multiple cues tied together. So, once the first cue in the set completes, the
next one starts. This trend continues through all the linked cues. With this
particular cue, there is only one additional linked cue. You can tell this by
how many different fade time numbers there are. In this, there are only two
numbers - so there is only two cues. It may seem like a complicated system,
but once you get the hand of it, it becomes very simple and helpful.
Lining up your cues into categories is a subtle yet effective method of
organization. Above you can see how this works. For this particular show the
cues were divided into 4 different sections: SOUND, ACTORS, HOUSE,
LIGHTS. This show was rather small, so that was all the categories that were
needed. This system is easily adaptable for larger shows. You could add a
fly rail or music category. As mentioned in the picture, this system can also
be color coded for added security. I am particularly fond of the post-it note
flags (the ones that are brightly colors and transparent). You can buy them in
up to 8 or so different colors. So, each type of cue gets its own color. I
usually give lights yellow, sound green, and standbys/warnings pink. After
that, colors can be dealt out as deemed necessary. Above I mentioned that
color can be used on cue heavy shows to help distinguish between different
types of cues. This system can also be used on shows with less cues. I know
I get slightly frustrated with long shows with no cues. So, using color is a
way of waking me up. I see pink on the page I just turned, I know that
something is coming up that I need to pay attention to. If everything was
monotone and just in black and white, I would be less likely to distinguish
between a page with a cue than without a cue. Sometimes the littlest things,
like a bit of color, can really help.
The last thing I point out in the prompt script example above is the typed
blocking in the script. The same shorthand used in the parenthetical reminders
can be used here. These two are reminders to help you call the cues.
Obviously “L7 GO” should be called after Delbert crosses to his chair. Like it
says above, this is done so nothing is left uncertain. “Do I call light cue 40
before or after Jill crosses downstage?” If it is typed into the script, that
question should easily be answered.
All stage managers use standbys and warnings differently. The best way I
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Prompt Book: Prompt Script
have heard it described is that standbys are given for pressing a button and
warnings are given for actions. Many people will say that you need to give a
cue warning first, then a few lines later a standby, and then a few lines later a
go. I have found that this system is basically overkill. A properly given
standby should be plenty of notice for an operator to get ready for a cue.
Generally, for me, a warning is given when the action that follows is not a
called cue. For example, if a microphone change is supposed to happen
backstage after a certain scene. Towards the end of that scene, I would give a
“Warning: Mic Change” and then state those involved with the change. I will
not actually be calling the microphone change, but the warning serves as a
reminder to the person executing the change.
Again, not all prompt books have to be the same. The system I used took
quite a few shows to figure out and develop. And, it is still far from perfect.
This is the system that worked for me for this show.
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Sign-In Sheet
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Carolina! The Musical - SIGN-IN SHEET
Sunday
February 17th
Apeet, Jonas
Crabtree, Gary
Denzer, Elizabeth
Freedman, Kyle
Jensen, Fran
Lorenz, Vinny
McAdams, Patrick
Nader, Penny
Paroo, Lyle
Radet, Drew
Settler, John
Walker, Henry
Bonner, Riley
Carry, Sam
Cross, Tricia
Munster, Harry
Summers, Dawn
Winters, Eric
Monday
February 18th
Tuesday
February 19th
Wednesday
February 20th
Thursday
February 21st
Friday
February 22nd
Saturday
February 23rd
Sunday
February 24th
Technical Check List
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Technical Check List
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20th
45 Minutes Until House
(6:45pm/6:15pm/1:45pm) Tech Crew Arrives
Turn on Light Board, Dimmer Check
MM, LB
Turn on Sound Board, Set-Up
SC
Run the Hazer (15 Minutes on Stage)
JS, LB
35 Minutes Until House
(6:55pm/6:25pm/1:55pm)
Sweep the Stage and Backstage
JS, SC
30 Minutes Until House
(7:00pm/6:30pm/2:00pm)
Call: 30 Minutes Until House
JS
Move/Run the Hazer (Shop)
JS, LB
25 Minutes Until House
(7:05pm/6:35pm/2:05pm)
Mop the Stage and Backstage
JS, SC
20 Minutes Until House
(7:10pm/6:40pm/2:10pm)
Call: 20 Minutes Until House
JS
Check Shop Path/Curtain
JS, SC
15 Minutes Until House
(7:15pm/6:45pm/2:15pm) Actors Arrive
Headset Check
SC
Check Callboard
KW
Pre-Set Folders
JS
10 Minutes Until House
(7:20pm/6:50pm/2:20pm)
Call: 10 Minutes Until House
JS
Turn on All Run Lights
JS, SC
Check Chair Placement
KW
5 Minutes Until House
(7:10pm/6:40pm/2:10pm)
Black-Out Check
LB, KW
0 Minutes Until House
21st
22nd
23rd
24th
25 Minutes Until Places
(7:30pm/7:00pm/2:30pm) House Opens
Call: House is Open, 25 ‘til Places
JS
Clean-Up Headset
JS
15 Minutes Until Places
(7:40pm/7:10pm/2:40pm)
Call: 15 ‘til Places
JS
10 Minutes Until Places
(7:45pm/7:15pm/2:45pm)
Call: 10 ‘til Places
JS
5 Minutes Until Places
(7:50pm/7:20pm/2:50pm)
Call: 5 ‘til Places
JS
0 Minutes Until Places
(7:55pm/7:25pm/2:55pm) Places
Call: Places
JS
Go Time
(8:00pm/7:30pm/3:00pm) Curtain
Post-Show
Turn Off Hazer
JS, LB
Turn Off Sound Board
SC
Turn Off Light Board
JS
Turn Off Run Lights
JS, SC
Clean Up Headset
JS
Final Check
KW
Prompt Book: Table of Contents
http://www.longwood.edu/theatre/StageManagementManual/Stage%20Management%20Manual%20-%20Final_files/page0021.htm[1/15/2010 11:53:17 AM]
Prompt Book – Table of Contents
The Wizard of Oz
Emergency Information
1. CPR
2. First-Aid
3. Fire
4. Hospital Directions
5. Accident Reports
6. Emergency Numbers
Production Materials
1. Check Lists
2. House Announcements
3. Photo Call
4. Performance Schedule
5. Scene Shifts
6. Rain Shows
7. Substitutions/Tracking
Cast Information
1. Contact Sheet
2. Cast List
3. Sign-In Sheets
4. Cast Information
5. Script Checklist
Rehearsal Information
1. Schedule
2. Schedule Conflicts
3. Rehearsal Reports
4. Production Meeting Reports
Technical
1. Scenic
2. Lighting
3. Sound
4. Costume
5. Properties
6. Choreography
7. Other
Rehearsal Script
Photo Call – The Exonerated
Number Light Cue
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
4
5
6
7
10
13
19
23
25
38
42
47
49
53
58
64
68
69
72
75
80
83
91
98
99
101
105
106/107
110
111
112
Moment
Start of Show, Back Row Enters
Back Row Crosses Down Stage
Delbert Enters
Gary and Sue
Robert and Georgia
Kerry and Sandra
David
Sunny
Delbert
Sunny, Rhodes, Black Cop, Jesse
Gary, White Cop 1, White Cop 2
Sunny’s Interrogation (White Cop 1, White Cop 2)
Sunny, Rhodes, State Attorney
Robert, Robert’s Judge, Court Attorney
David, Prosecution, Defense
“Executed”
Gary
Robert
Robert and Guard Spit in Tea Scene
Kerry
Jesse and Sunny
Kerry and Doyle
Prosecution, Robert, Georgia, Ex-Boyfriend, Lawyer – “Okay!?”
Sandra and Kerry
Robert and Georgia
Gary, Sue, and Farmer
Delbert, Down Center
Light over Delbert’s Shoulder, SL – Light Up on Sunny
Alan Singing
Back Light Up on Front Row
Back Row Stands
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Actor
“A fool cannot be an actor, though an actor may act a fool's part.”
- Sophocles
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Plan to arrive (and actually arrive) 5-15 minutes before your scheduled call. Disasters will
happen, so plan for them.
o Fittings: The exact time of your costume fittings are scheduled by you, leaving no excuse for missing
your own fitting.
- Notification of Lateness / Absence: Sometimes, rehearsal is scheduled right on top of your cousin's wedding, or
maybe you get some food poisoning from a bad taco. These sorts of excuses are understandable, but
neglecting to inform the stage manager of them is not. As soon as you learn of a scheduling conflict or
realize that you might be late or absent to rehearsal, call your stage manager and let them know. There is no
excuse for not calling. Please do not surprise them at the beginning of rehearsal by not being there.
- Memorization: You are not an actor only while in the theatre. Remember to go over your lines, blocking, notes,
and any technical information (scene shifts, quick changes, etc.) every night.
- Questions: Should you have any questions, ask your stage manager. If they do not personally have the answer,
they will know where to get it from.
Rehearsal
- Preparation: Arrive early, warmed up physically and vocally, and ready to go at the start of rehearsal. Make sure
that you have your script, paper, and writing implements. You should wear non-restrictive clothing, no
jewelry, and absolutely no open-toed shoes. If you so choose, you may also bring a bottle of water.
- Food in the Theatre: There is to be no food or drink (except water in closed bottles) in Jarman Auditorium, 026,
or the Studio Theatre. If you need to have food with you, please confine it to the hallways.
- Notes: Always be gracious when receiving notes, always write them down, implement them as soon as possible,
and NEVER give them to another actor.
- Disturbances: Minimize disturbances during rehearsal. Turn off cell phones, watch alarms, boom boxes, etc. If
you know that you will be sitting around doing nothing for a long time, bring homework to do, or study your
script.
- Pay Attention: That said, always pay attention during rehearsal. You never know when the director will decide to
give a general note to the cast, or give you a specific note out of the blue.
- Fines: The following fines exist as a theatre-wide policy for rehearsals. The money earned through this system
goes towards scholarship contributions in the department. All money should be paid to stage management as
soon as possible and before the end of the semester (preferably before the end of the run).
Open toed shoes
$ 0.25
No script
$ 1.00
No pencil
$ 0.10
Missed fitting
$ 2.00
Not returning pencil
$ 1.00
Late - Rehearsal
$ 0.20 per minute
Late – Tech / Run
$1.00 per minute
- Lateness: Each time that you are late without an excuse, your call time will be moved forward by ten minutes for
the remainder of the rehearsal period. This is to help you get to rehearsal on time and ready to go.
Technical & Dress Rehearsals
- Attendance: You are required to be present for all technical and dress rehearsals. The dates will be given to you at
the first rehearsal and you are expected to keep these dates free of any other obligations.
- Patience: This is the only time that designers have to bring all of their work together and perfect it. Do not waste
their time by disrupting rehearsal, goofing off, or wandering away from the stage. The stage manager can,
and will, jump around as necessary.
- Preparation: Be prepared to alter your performance from one night to the next. Notes given after these rehearsals
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cannot wait three days to be implemented. You must be thinking on your feet the entire time.
Performance
- Excellence: It does not matter whether there is one patron in the audience or a thousand, or if this is Opening Night
or Performance #485. You should always give the very best performance that you are capable of.
- Maintenance: It is your responsibility to maintain the performance as directed and to keep up your energy levels
throughout the run of the show. Now is not the time to be changing your lines and if you look bored, the
audience will become bored.
- Etiquette: While you should always maintain proper theatre etiquette, it is especially important during a
performance. You should not be peeking out to see how full the house is, appearing before the audience in
costume before your entrance, or otherwise behaving in a manner unbefitting a member of the theatre. This
includes not touching or speaking on headset for any reason.
- Entrances: Straight from Actor's Equity, "Remember that, even though places for each act will be called, you
alone are responsible for all of your entrance cues." It would not hurt to also know the entrance and exit cues
of other actors.
- Preset: Check the location of all your props and costume pieces before house opens.
- Props and Costumes: Take care of your costume and props. Do not abuse them or misuse them. Do not touch
props or costume pieces that are not yours. Do not eat, drink, or smoke, while in costume. Thank you.
Photo Call
- Premise and Schedule: Traditionally set the night after Opening Night, this is an opportunity for designers,
directors, publicists, and actors to take pictures for their portfolios.
- Procedure: The show is run in reverse, with pauses taken for each specific photo. During each pause, actors are to
freeze in position while non-flash cameras take pictures, then flash cameras, and then the stage manager will
move on to the next photo.
- Preparation: A list of the photos to be taken will be posted backstage and on the call board on the night of Photo
Call. Please familiarize yourself with it, but be prepared for last minute additions and alterations.
- Location: If you are not needed onstage for a photo, you should be backstage or in the extreme left or right of the
house, and definitely out of view of any cameras. If you have to make a costume change for the next photo,
please do so as quickly as possible. Do not wander off if you are not making a costume change.
Strike
- Premise and Schedule: Strike occurs after the last performance, which is usually the Sunday matinee. This is
when we dismantle the set so that the space may be used for other purposes.
- Attendance: As a member of this production, you are required to attend Strike. Before leaving, you must sign out.
Actor’s Rights
- Safety: You may refuse to walk on a stage or scenic unit until it has been proven beyond a reasonable doubt that
the unit is safe. The technical director and stage manager will always ensure that a scenic unit is safe before
allowing you to walk on it, but you may ask for a demonstration.
- Calls: You will be given warning calls at regular intervals before the start of the show. These are: 30 'til house, 20
'til house, 10 'til house, house open and 30 'til places, 20 'til places, 10 'til places, 5 'til places, and places.
- Meal Breaks: You are entitled to 45-minute meal breaks during tech weekend and strike, if either would otherwise
run through a meal. This break may be waived by stage management if strike is expected to be especially
light (less than 45 minutes).
- Rehearsal Breaks: You are entitled to a 5-minute break every 85 minutes. The stage manager will ensure that the
director holds to this schedule.
- Cooperation: Stage management will perform all reasonable actions to ensure the best possible rehearsal period
and performance run. Even though they are often very busy, feel free to ask questions or to make requests. If
the answer is no, however, please respect that.
- Voice: You do not lack a voice in the production. If you have an issue with another actor, difficulties
understanding your character, or any other questions, please do not hesitate to speak with the stage manager
or director about these matters.
- Confidentiality: Any information that you reveal to stage management will be kept in strict confidence.
- Learn: As a student and an actor, you have the right to both learn and apply your craft. There is no substitute for
experience, and this should be seen as the world's best acting class.
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Position:
Actor
THEA 102 – Performance Credit Form
ALL Students acting in a show must fill out this form. A separate form must be used for each position held.
Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play performance credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
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Construction
“A jackass can kick a barn down, but it takes a carpenter to build one.”
- Sam Rayburn
Master Carpenter
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive,
especially the electrics section.
- Shop Rules and Safety: You are responsible for ensuring that your crew (and anybody else in the shop)
understands the shop rules and that they know how to operate any given piece of equipment in the proper
and safest possible manner.
- Clean up: At the end of each crew call, all workspaces and the shop are to be cleaned before anybody is released.
Tools and supplies must be put away properly, sawdust and scraps are to be thrown away, and all
workspaces are to be thoroughly swept for debris, especially if actors or other students will be using that
space after you.
Weekly
- Technical Director Meetings: You should meet with the technical director (and / or their assistant) daily, to
ensure that you are both operating on the same page. At these meetings, you should bring up any questions
you have, any ideas for how to make any unusual scenic challenges work in our space, and figure out the
upcoming week’s schedule.
- Production Meetings: You are not expected to attend the weekly production meetings.
Rehearsal Period
- Inventory: At the technical director’s request, you may be asked to perform an inventory of the shop’s construction
supplies.
- Contracts: You will be given a packet of contracts for yourself and your crew by the stage manager. You need to
have your crew read and sign the last page of their contracts. After they do so, please tear off and return only
the last page to the stage manager. You may need to schedule a special crew meeting for this and it should be
completed within a week of receiving the packet. Students on multiple crews must sign and return a last page
for each crew that they are on. Lastly, please inform the stage manager of any difficulties you encounter.
- Crew Calls: You are responsible for conversing with your crew and creating a crew call schedule. This should be
approved with the technical director and should be set in reasonably firm clay. Sitting down in the first week
with the schedules of your carpenters and working out a schedule for the entire production would not be a
bad idea and would, in fact, make your life a good deal easier.
- Crew Leadership: As master carpenter, you are expected to act in a largely independent manner on tasks, often
with a crew of your own working under you. This role requires flexibility and the ability to keep multiple
crew members working together. Delegation of carpenters to many sub-tasks is almost a necessity.
- Cut List: The technical director will hand off to you technical plates of scenic units that are to be built. From
these, you are to develop a cut list and oversee the proper and efficient construction of the units.
- Specialty Tasks: No set is without its challenges, especially in educational theatre, where you may encounter
many interesting and innovative scenic designs. These designs will require an execution that is just as
innovative, and you will be expected to rise to their challenge. You should maintain an easy flexibility and
an open mind, as there is no such thing as a ‘standard set’.
- Explanation: You and the technical director should speak with the stage manager concerning any new additions to
the set and how to properly use them. If the additions will require a large amount of cast interaction (such as
the braking mechanisms on actor-moved scenic units), then it may not be a bad idea for you to attend the
next rehearsal to ensure that the actors understand how to use them properly and effectively.
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Technical and Dress Rehearsals
- Attendance: You are not required to attend all technical and dress rehearsals, but it would not be a bad choice on
your part, especially if the set contains moving parts or tricky effects.
- Training: You should meet with stage management and any deck hands prior to the first technical rehearsal in
order to discuss the set and the duties of the deck running crew. It is paramount that the deck hands and
assistant stage managers know how to properly work every moving scenic piece and what to do in the event
of it failing to move.
- Notes: After each technical or dress rehearsal, you should implement all of the notes that are given to you by the
scenic designer or technical director.
- Special Situations: You should work with stage management, the scenic designer, and the technical director to
help resolve any special situations that arise.
Performance
- Maintenance: Should a disaster befall the performance and a scenic unit or moving piece is damaged, you are
expected to repair and restore the set to a good, working order before the next performance. Bear in mind
that, in the case of a major disaster, other crews may need to get at the scenic units after you.
Strike
- Construction Strike: As part of strike, the entire set will be dismantled. Parts will be saved as whole units,
dismantled for stock materials, or discarded as trash, according to their potential usefulness. The technical
director and yourself will be responsible for quickly and efficiently directing traffic during the strike,
ensuring that nobody is injured and that everything is dismantled in the proper order.
Policies
- Purchases: All purchases at Longwood must be put on a university-issued Mastercard, for which the faculty scenic
designer, costume designer, and technical director are solely responsible.
- Shop Rules: Scene Shop Rules are to be followed at all times. No exceptions.
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Construction Crew
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Respond to all crew call messages or email with
either an acknowledgment or a reason why you might not show up on time. Do not expect to show up late
with an excuse like, “Well, my class runs until 2.15, so I couldn’t make the 2.00 crew call…” You should
have already told the master electrician this when they gave you the date and time of the crew call.
Rehearsal Period
- Duties: The construction crew exists to assist the master carpenter in the construction of the set. You will be
expected to work in a timely and professional manner and if you have any questions, you should direct them
to the master carpenter.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your crew calls will be set by the master electrician. Plan to arrive (and actually arrive) 515 minutes before your scheduled call. Disasters will happen, so plan for them.
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Position:
Construction
Please Circle One:
Master Carpenter
Construction Crew
THEA 103 – Production Credit Form
ALL Students participating in a show must fill out this form. A separate form must be used for each position
held. Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I am currently enrolled in a technical theatre class (Ex: Technical Theatre, Lighting Design, Stage
Properties, etc.) and cannot receive a play production credit.
Class:
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play production credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
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Costume Construction
“If a woman rebels against high-heeled shoes, she should take care to do it in a very smart hat.”
- George Bernard Shaw
Costume Shop Supervisor
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive,
especially the costume section, and check in with the costume designer regularly.
- Supervision: While the costume designer will assign duties to the various stitchers, you will be responsible for
overseeing the activities in the shop and answering any questions from stitchers when the costume designer
is otherwise unavailable.
- Shop Rules and Safety: You are responsible for ensuring that your crew (and anyone else in the costume shop)
understands the shop rules and that they know how to operate any given piece of equipment in the proper
and safest possible manner.
- Clean up: At the end of each crew call, all workspaces and the costume shop are to be cleaned before anyone is
released. Tools and supplies must be properly put away, clippings and scraps are to be disposed of properly,
and all workspaces are to be thoroughly swept for debris, especially if actors or other students will be using
that space after you.
- Costume Designer Meetings: You should meet with the costume designer (and / or the costume design professor)
daily, to ensure that lines of communication remain open. At these meetings, you should ask any questions
you have, discuss current projects, and shop progress.
Weekly
- Production Meetings: You are not expected to attend the weekly production meetings, unless the costume
designer requests your presence or is unable to attend.
Rehearsal Period
- Inventory: At the costume design professor’s request, you may be asked to perform an inventory of the shop’s
costume supplies and maintain costume storage.
- Contracts: You will be given a packet of contracts for yourself and your crew by the stage manager. You need to
have your crew read their contract and sign the last page. After they do so, please tear off and return only the
last page to the stage manager. You may need to schedule a special crew meeting for this and it should be
completed within a week of receiving the packet. Students on multiple crews must sign and return a last page
for each crew that they are on. Lastly, please inform the stage manager of any difficulties you encounter.
- Crew Calls: You are responsible for conversing with your crew and creating a crew call schedule. Construct this
production schedule during the first week of production using the schedules of the costume crew, and get it
approved with the costume designer. Sitting down in the first week with the schedules of your costumers and
working out a schedule for the entire production would not be a bad idea and would, in fact, make your life a
good deal easier.
- Specialty Tasks: No costume position is without its challenges. These challenges will require execution that is
innovative and demanding, you will be expected to rise to this challenge. You should be flexible, keep an
open mind, and remember that a design may change at any time.
- Rehearsal Costumes: If rehearsal costumes are needed, you will be responsible for pulling them from stock,
getting them approved by the costume designer, and instructing stage management on their use and care.
- Measurements & Fittings: You are expected to attend all measuring and fitting appointments between the
costume designer and actors. At these, you are to act as the designer’s assistant, taking notes, pulling
costume pieces, and otherwise making the absolute most out of the time allotted.
Dress Rehearsals and Performance
- Attendance: You are required to attend all dress rehearsals in order to assist the costume designer. You are not
required to attend the performances.
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- Training: You should meet with the costume designer, wardrobe supervisor, and dressers prior to the first
technical rehearsal in order to discuss any costume changes and the duties of the wardrobe crew. It is
paramount that the dressers know how to properly dress and undress an actor in any given costume. One
cannot be trying to remember how a clasp works in the middle of a quick change.
- Notes: After each technical or dress rehearsal, you should implement all of the notes that are given to you by the
costume designer. This may mean working at night, or it may mean coming in early the next morning and
working before the next rehearsal.
- Special Situations: You should work with stage management, the costume designer, and the technical director to
help resolve any special situations that arise.
- Maintenance: You will help the wardrobe supervisor with any major repairs incurred during dress rehearsals or
the run of the production.
Strike
- Costume Strike: As part of strike, you are responsible for overseeing the costume crew, restoration of pulled
garments, cleaning of all costumes, restocking costume storage, and discarding the appropriate pieces (speak
with the costume designer and costume design professor concerning what is appropriate). You are also
responsible for ensuring that all dressing rooms are cleaned, all trash is discarded, all make-up is put away,
and the rooms are put back in proper order.
Policies
- Purchases: All purchases at Longwood must be put on a university-issued Mastercard, for which the faculty scenic
designer, costume designer, and technical director are solely responsible.
- Shop Rules: Costume Shop Rules are to be followed at all times. No exceptions.
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Costume Crew
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, actors, and other
individuals.
- Communication: Read the call board and check your Email daily. Respond to all crew call messages or email with
an acknowledgment and a reminder of a conflicting class, if applicable. Do not expect to show up late with
an excuse like, “Well, my class runs until 2.15, so I couldn’t make the 2.00 crew call…” You should have
already told the costume shop supervisor this when they gave you the date and time of the crew call.
Rehearsal Period
- Duties: The costume crew exists to assist the costume shop supervisor in the construction of the production’s
costumes. You will be expected to work in a timely and professional manner and if you have any questions,
you should direct them to the costume shop supervisor.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your crew calls will be set by the costume shop supervisor. Plan to arrive (and actually
arrive) 5-15 minutes before your scheduled call. Disasters will happen, so plan for them.
3 of 4
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Position:
Costume Construction
Please Circle One:
Costume Shop Supervisor
Costume Crew
THEA 103 – Production Credit Form
ALL Students participating in a show must fill out this form. A separate form must be used for each position
held. Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I am currently enrolled in a technical theatre class (Ex: Technical Theatre, Lighting Design, Stage
Properties, etc.) and cannot receive a play production credit.
Class:
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play production credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
4 of 4
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Electrics
“If it weren’t for electricity, we’d all be watching television by candlelight.”
- George Gobel
Master Electrician
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive,
especially the electrics section.
Weekly
- Designer Meetings: You should meet with the lighting designer on a weekly basis, to ensure that you are both
operating on the same page. At these meetings, you should bring up any questions you have and any ideas
for how to make any unusual lighting challenges work in our space.
- Production Meetings: You are not expected to attend the weekly production meetings.
Rehearsal Period
- Certification: You and your crew must be certified on the fly rail system and you must be certified on the loading
gallery. Ideally, your crew should also be certified for the loading gallery.
- First Designer Meeting: Shortly after getting this position, you should meet with the lighting designer to learn
what their concept of the show is, as well as to receive the light plot and other paperwork from them.
- Analyze Light Plot: You must analyze the light plot and create a list of what instruments, gels, and specialty
equipment will be needed to implement the design. You must also create any and all paperwork not given to
you by the lighting designer, including assigning instruments to circuits (the designer will be assigning them
to channels, not circuits or dimmers). When and if possible, try to leave some open circuits spread through
the light plot, in case of last-minute additions.
- Inventory / Wish List: With your analysis of the light plot in hand, you should create and maintain an inventory
of instruments, gels, and special effects. Make note of anything that will be needed, especially if it does not
exist in the theatre. From this inventory, construct a wish list of needed and desired items to best execute the
light plot.
- Second Designer Meeting: After the analysis and inventory are complete, you should schedule a second meeting
with the lighting designer. At this point, you and the designer should also discuss tentative focus calls, any
special positions or effects that you will be responsible for, and any other questions or concerns that you may
have. You should also bring your inventory and wish list to this meeting, so that you may bring any potential
problems to the lighting designer’s attention. (Example: They want to use nine 8” Fresnels, but you only
have six working instruments in stock.)
- Ordering: All purchases must be made through the faculty technical theatre professor. You need to research your
needed items and produce an order for the professor to look over, including costs. You should speak to the
professor ahead of time to find out if there are supplies that we are required to use.
- Contracts: You will be given a packet of contracts for yourself and your crew by the stage manager. You need to
have your crew read and sign the last page of their contracts. After they do so, please tear off and return only
the last page to the stage manager. You may need to schedule a special crew meeting for this and it should be
completed within a week of receiving the packet. Students on multiple crews must sign and return a last page
for each crew that they are on. Lastly, please inform the stage manager of any difficulties you encounter.
- Crew Calls: You are responsible for conversing with your crew and creating a crew call schedule. This should be
approved with the technical director and should be set in reasonably firm clay. Sitting down in the first week
with the schedules of your electricians and working out a schedule for the entire production would not be a
bad idea and would, in fact, make your life a good deal easier.
- Care and Repair: You are responsible for the care and repair of all lighting instruments, cable, and accessories
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during the production.
- Paperwork: Unless you are in the extremely fortunate position of having a lighting designer who simple loves to
do paperwork, you are responsible for keeping all of the electrics paperwork up-to-date and distributed to the
appropriate individuals.
- Special Effects: As master electrician, you should personally implement any extremely unusual lighting effects,
such as wiring a practical or splicing an instrument’s pigtail to an extension cord.
- Cut Gels: You are responsible for either cutting the necessary gels, or instructing one (or more) of your
electricians in the proper method of cutting gels.
Hanging Call
- Preparation: Ensure the following…
o …the battery-operated genie has been properly charged
o …your crew is certified on the fly rail system and at least one is certified on the loading gallery
o …all of your gels are cut and prepared (preferably already in their gel frames)
o …gobos and irises are prepared
o …you have enough safety cable for every instrument
o …stage pin cable is ready and has been tested for usability
o …all instruments have been tested and are ready to be hung
o …crescent wrenches, tie line, and measuring tapes are ready
- Hanging: During the hanging, the electrics crew should do most of the standard hanging, such as on electrics, on
trees, or in front of house positions. Extremely difficult or uncommon hangs should be done by the master
electrician or an experienced electrician. All instruments should be hung in such a way as to facilitate
focusing (i.e. if an instrument is to be focused stage left, it should be first hung aiming straight down with
the top of the instrument pointing towards the stage left wall).
- Cabling: The electrics crew should cable the instruments as directed by the master electrician. Standard policies
are as follows…
o …all cable is to be neatly tied to pipes with tie line (simple bows only) or the attached Velcro straps
o …all connections must be tied on both sides of the connection
o …all connections must be tied to together. The holes in the connectors are not just for decoration.
o …cables should not sag or droop unnecessarily
o …all instruments should be left with enough slack to allow a full range of motion
o …any remaining slack should be moved towards the ends of the batten (often near the end plugged
into the circuit), where it should be coiled into appropriately-sized loops and tied up. (Example: Ten
feet of cable should not be coiled into three-inch loops and three feet of cable should not be coiled
into two-foot loops.)
- Rough Focus: After all of the instruments have been hung and cabled, they should be rough focused into their
approximate focus areas, a process that will make focus call go that much faster.
Focus Call
- Preparation: Ensure the following…
o …the battery-operated genie has been properly charged
o …your crew is certified on the fly rail system and at least one is certified on the loading gallery
o …the dimmers have all been patched to the correct channels
o …all dimmers and circuits function at their proper positions. This is an old building and it has quirks.
o …crescent wrenches are ready
o …your crew knows how to focus any of the hung instruments and that they understand the terms that
will be used by the lighting designer or their assistant
- Focus: During the focus call, there should be a minimum of two electricians ready to focus at any given point in
time, preferably in different areas. The lighting designer should be able to switch from instrument to
instrument as quickly as possible, without having to wait for an electrician to move. The time spent per
instrument should be around 1-2 minutes, maximum. If an instrument is stuck or otherwise broken, your
electricians should tell you as soon as they realize. That instrument should then be skipped and returned to at
the end. It would not be a bad idea to have a third electrician running around fixing these broken instruments
so that they can be ready to go. The master electrician should be either sitting by the light board, or at the
apron of the stage with the remote control unit.
Technical and Dress Rehearsals
- Attendance: You are required to attend all technical and dress rehearsals.
- Training: You should meet with your light board operator and the stage manager prior to the first technical
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rehearsal in order to discuss their duties during the run of the show.
- Running Lights: You and your crew are responsible for rigging backstage running lights, with the approval of the
assistant lighting designer and the stage manager.
- Notes: After each technical or dress rehearsal, you should implement all of the notes that the lighting designer
gives you. This includes, but is not limited to, light leaks, touch-up focus, instrument repair, and gel changes.
- Special Situations: You should work with stage management and the lighting designer to help resolve any special
situations that arise.
Performance
- Attendance: You are required to be present at crew call each night to go through a dimmer check with your light
board operator.
- Last-Minute Maintenance: Should the dimmer check not be a complete success, you should have ample time to
fix whatever the issue is before the house opens. If it looks as though you will still be working in plain view
when the house opens, speak to stage management and they will make the final call.
Strike
- Electrics Strike: As part of strike, instruments will definitely be removed from the set, the floor, and all trees. You
will need to speak with the technical director before strike in order to determine when instruments can be
removed from battens, box booms, and front of house positions.
- Restore Repertory Plot: You will need to speak to the technical director about what instruments will need to be
hung for incoming events. These instruments may even need to be focused, which will also be your crew’s
responsibility.
- Restore Electrics Loft: Your job is not over with strike. You are responsible for restoring the electrics loft and
light board to a nicer condition than the one you found them in. Nobody wants to walk into a deadly tangle
of DMX cable and dead lamps, so please make it clean and neat before you leave.
Policies
- Purchases: All purchases at Longwood must be put on a university-issued Mastercard, for which the faculty scenic
designer, costume designer, and technical director are solely responsible.
- Shop Rules: Scene Shop Rules are to be followed at all times. No exceptions.
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Electrics Crew
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Respond to all crew call messages or email with
either an acknowledgment or a reason why you might not show up on time. Do not expect to show up late
with an excuse like, “Well, my class runs until 2.15, so I couldn’t make the 2.00 crew call…” You should
have already told the master electrician this when they gave you the date and time of the crew call.
Rehearsal Period
- Certification: You are responsible for working with the master electrician and the technical director to ensure that
you are certified and trained on the fly rail system, the loading gallery, and the genie before your first
hanging call.
- Duties: The electrics crew exists to assist the master electrician in the hanging, focusing, and maintenance of all
electrics equipment.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your crew calls will be set by the master electrician. Plan to arrive (and actually arrive) 515 minutes before your scheduled call. Disasters will happen, so plan for them.
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Light Board Operator
(You should also receive and sign a Running Crew Contract)
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive.
Performance
- Attendance: You are expected to attend all performances, technical and dress rehearsals, and as many regular
rehearsals as the stage manager deems necessary.
- Running Crew: You are part of this production’s running crew and, as such, fall under the domain of stage
management. If the stage manager or an assistant stage manager asks you to do something, please do your
best to accommodate them. You should also keep them appraised of any events, unusual or otherwise.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your call time will be set by the stage manager. Plan to arrive (and actually arrive) 5-15
minutes before your scheduled call. Disasters will happen, so plan for them.
- Duties: You need to speak with stage management regarding your specific responsibilities for this production, but
your duties will very likely entail the following…
o …turning on and off the light board each night
o …conducting the dimmer check with the master electrician
o …ensuring proper house light functionality
o …taking light cues from the stage manager
o …putting out the ghost light before leaving
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Deck Electrician
(You should also receive and sign a Running Crew Contract)
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive.
Performance
- Attendance: You are expected to attend all performances, technical and dress rehearsals, and as many regular
rehearsals as the stage manager deems necessary.
- Running Crew: You are part of this production’s running crew and, as such, fall under the domain of stage
management. If the stage manager or an assistant stage manager asks you to do something, please do your
best to accommodate them. You should also keep them appraised of any events, unusual or otherwise.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your call time will be set by the stage manager. Plan to arrive (and actually arrive) 5-15
minutes before your scheduled call. Disasters will happen, so plan for them.
- Duties: You need to speak with stage management regarding your specific responsibilities for this production, but
your duties will very likely entail presetting special lighting instruments or effects, inspecting and testing
special effects for safety and effectiveness each night, taking special cues from the stage manager when
applicable, and striking special lighting instruments or effects.
- Maintenance: If any instruments or other electrics equipment needs emergency maintenance, it is your
responsibility to work with the master electrician, light board operator, an assistant stage manager, or by
yourself to fix them before or during the performance. All maintenance should be reported to, and confirmed
by, stage management, and any disruptive maintenance should be confined to pre-show or intermission.
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Position:
Electrics
Please Circle One:
Master Electrician
Electrics Crew
THEA 103 – Production Credit Form
ALL Students participating in a show must fill out this form. A separate form must be used for each position
held. Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I am currently enrolled in a technical theatre class (Ex: Technical Theatre, Lighting Design, Stage
Properties, etc.) and cannot receive a play production credit.
Class:
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play production credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
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House Management
“Management is doing things right; leadership is doing the right things.”
- Peter F. Drucker
House Manager
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive.
- Courtesy: House management deals with the paying customer more than any other department in the theatre and,
because of that, they need to always be as courteous as humanly possible. Please leave any bad moods at the
home and remember to bring your smile.
Rehearsal Period
- Distribution: You are responsible for distributing posters around the campus and Farmville. Alpha Psi Omega, the
theatre honor fraternity, is willing to help with this, if you give them posters and locations where they are
needed. The box office manager has a list of the necessary locations.
- Box Office: Every show is different, so please make sure that you meet with the box office manager to determine
exactly what tasks will be required of you for this particular production.
- Recruit Ushers: You are responsible for recruiting the ushers for the show. The easiest way to do this is to put an
usher sign-up sheet on the Call Board (with permission from stage or production management). Follow up
with word of mouth, however, to ensure that there will be enough ushers for every night. The house manager
should also have contact information for all of their ushers.
Pre-show
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. The standard call time for the house manager is 1 hour and 15 minutes before the
performance begins and 1 hour for ushers. Plan to arrive (and actually arrive) 5-15 minutes before your
scheduled call. Disasters will happen, so plan for them. Also, the house manager is responsible for enough
ushers being in the theatre at the appointed time.
- Dress Code: Both the house manager and ushers should be dressed neatly and professionally in black and white. If
ushers are not dressed properly, they should be sent home to change.
- Emergency Supplies: Ensure that there are flashlights for your ushers and a first aid kit available in the box office.
You should also familiarize yourself with the phone, locations of fire alarms, and the emergency house light
switch. This last switch is up and to your right as you walk in through the house left door from the lobby;
pushing it up will bring the house lights up and pulling it down will bring them down.
- Temperature: Check the house temperature when you arrive and speak to the stage manager, if necessary.
- Lights: If it is an evening performance, the outside lights need to be turned on. Up in old light booth, on the house
left wall and above the main circuit box, there is a small wall-mounted box with a timer and switch inside.
The lights will take a few moments to come on.
- Cleanliness: The house, lobby, and front steps should be cleared of trash and, where applicable, swept clean.
Brooms can be found in the scene shop.
- Synchronize Watches: Wear a watch, preferably one that is not your cell phone (although that is preferable to
nothing). When you arrive, find the stage manager and ensure that you both have the same time.
- Prepare House:
o Damage: Any damage in the house should be reported to the stage manager.
o Reservations: “Reserved” signs should be placed on appropriate seats. Check with the box office.
o Section Off: Occasionally, we will not want to seat patrons in certain sections. For those occasions,
you will need to rope off those sections with cording that can be found in the box office.
- Prepare Lobby:
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Balcony: Rope off the stairs leading to the balcony when not seating patrons up there.
Line: Have velvet ropes placed to form an orderly line at the box office.
Ticket Boxes: Have ticket boxes ready by both house doors.
Warnings: Ensure that proper warning signs (haze, strobe, etc.) are placed in prominent locations.
Seating
- Ushers: Before you open the house, have ushers in-place and ready.
- Calls: Stage management will give calls at 30 ‘til house, 20 ‘til house, 10 ‘til house, and house open.
- House Open: Check with stage management before you open the house and ensure that nobody is loitering on
stage and that there is nothing obstructive in the house (ladders, lighting instruments, etc.).
- Food and Drink: There is no food or drink allowed in Jarman Auditorium. No exceptions.
- Seating: Seat patrons in the center section first, and then in the house left and right sections. You should personally
seat any VIPs, disabled, or less-than-courteous patrons.
- Management: It is your responsibility to manage the house. This includes keeping your patrons and ushers in line
and not doing anything that they should not be doing. For example, patrons should never enter the tech area
and ushers should not be talking with the friends to the point of neglecting their duties.
- Late Seating: Check with the box office manager for this production’s late seating policy.
- Holding: Occasionally (quite often, actually), the house will have to be held while almost-late patrons finish
buying tickets and getting to their seats. You will need to speak with the box office manager to decide if this
is necessary and, if so, you will need to inform stage management. If you cannot personally tell them, then
you should send an usher. Under no circumstances, however, should they be left in the dark.
Intermission
- Running Time: Know the running time of the show both before and after intermission so that you and your ushers
can be ready to open the doors once the first act is over.
- Intermission Length: Ideally, intermission should be only 10 minutes long. This means that you need to
coordinate with stage management to know what signals will be given to the patrons to get them back into
the house (music, house lights dimming to half brightness, etc.). It is your responsibility to ensure that all of
the patrons are back in the house and the doors are closed at the end of intermission.
- Holding: Sometimes the patrons are slow. Just as with the pre-show seating arrangements, you need to inform the
stage manager if the intermission will be running long.
During Performance
- Count Tickets: During the show, count the ticket stubs in the ticket boxes, separating them into complimentary
tickets and paid tickets. Write down the numbers for the box office manager’s use.
- Watch the Show: Sit in on portions of the show to gauge the audience and determine if there are any issues that
need to be taken care of.
- Communication: Make sure that either you or an usher is sitting where they can see and be seen by the stage
manager. In an emergency, the stage manager may need to get in contact with house management.
- Quiet: During the show, keep the lobby quiet and the dance parties to a minimum, as we have no sound locks.
- Doors Closed: Our doors are also not light locks, so please try to keep them closed as much as possible. If they
must be opened, try to wait for a loud moment (audience laughing, scene change, etc.), then have the door
only open as long as necessary.
Post-show
- Open House: Know the running time of the show and the post-show music so that you can open the house doors.
- Patrons: Be ready to field any questions from the patrons as they are leaving. Also, you should be prepared to
usher the patrons out of the house after a reasonable period of time.
- Stick Around: As house manager, you should remain in the building as long as the patrons do.
- Turn Off Lights: Ensure that all lights, both in the lobby and outside, are turned off at the end of the night.
- House Count: Bring the house count to the stage manager at the end of the performance. This should include the
total number of patrons, the number of complimentary tickets, and the number of tickets sold.
- Clean House: A sweep of the house should be conducted after the performance to pick up any trash left by the
audience. We do not, for example, want to be finding the rotten banana that somebody smuggled in
tomorrow night. For this reason, it is a good idea to keep at least one usher for the entirety of the show.
- Lock Up: Before you leave, ensure that the box office door is shut and locked, the front doors of Jarman are
completely closed and locked, and the house doors are closed.
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Usher
Responsibilities
Pre-show
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. The standard call time for the house manager is 1 hour and 15 minutes before the
performance begins and 1 hour for ushers. Plan to arrive (and actually arrive) 5-15 minutes before your
scheduled call. Disasters will happen, so plan for them. Also, the house manager is responsible for enough
ushers being in the theatre at the appointed time.
- Dress Code: Both the house manager and ushers should be dressed neatly and professionally in black and white. If
ushers are not dressed properly, they should be sent home to change.
- Cleanliness: The house, lobby, and front steps should be cleared of trash and, where applicable, swept clean.
Brooms can be found in the scene shop.
- Help: You are here to help the house manager and make their life a little easier. Please do not argue if they ask you
to do something. Likewise, do not start fights with the patrons.
Seating
- Food and Drink: There is no food or drink allowed in Jarman Auditorium. No exceptions.
- Seating: Seat patrons in the center section first, and then in the house left and right sections. You should personally
seat any VIPs, disabled, or less-than-courteous patrons.
- Ticket Taker: Stand by each door to the house with a ticket box and tear each ticket along its perforation. The stub
is placed in the ticket box and the remainder is given back to the patron. There are usually two ticket takers.
- Program Distributor: Stand by each door and hand out programs to patrons as they enter. There may be one or
two ushers distributing programs.
During Performance
- Count Tickets: During the show, count the ticket stubs in the ticket boxes, separating them into complimentary
tickets and paid tickets. Write down the numbers for the box office manager’s use.
- Quiet: During the show, please keep the lobby quiet and the dance parties to a minimum. Our house doors are not
sound locks.
Post-show
- Clean House: A sweep of the house should be conducted after the performance to pick up any trash left by the
audience. We do not, for example, want to be finding the rotten banana that somebody smuggled in
tomorrow night. For this reason, it is a good idea to keep at least one usher for the entirety of the show.
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Position:
House Manager
THEA 103 – Production Credit Form
ALL Students participating in a show must fill out this form. A separate form must be used for each position
held. Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I am currently enrolled in a technical theatre class (Ex: Technical Theatre, Lighting Design, Stage
Properties, etc.) and cannot receive a play production credit.
Class:
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play production credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
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Properties
“Plastic lawn flamingos outnumber real flamingos in the United States.”
- Useless Fact
Properties Master / Mistress
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive,
especially the props section.
Weekly
- Designer Meetings: You should meet with the scenic designer on a weekly basis, to ensure that you are both
operating on the same page. At these meetings, you should bring any research that you have gathered, in
addition to any questions, concerns, or difficulties with the properties. They might have ides that you do not.
Also, all performance properties must be approved by the scenic designer before you hand them over to
stage management.
Rehearsal Period
- Examine Script: First and foremost, you should read the script thoroughly and create a preliminary properties list
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from all properties mentioned explicitly and implied in the text. At this point, you should also begin to get an
idea of what can be pulled, borrowed, rented, or bought.
First Designer Meeting: Shortly after getting this position, you should meet with the scenic designer to learn what
their concept of the show is and to receive any research or special instructions they might have for you.
Contracts: You will be given a packet of contracts for yourself and your crew by the stage manager. You need to
have your crew read and sign the last page of their contracts. After they do so, please tear off and return only
the last page to the stage manager. You may need to schedule a special crew meeting for this and it should be
completed within a week of receiving the packet. Students on multiple crews must sign and return a last page
for each crew that they are on. Lastly, please inform the stage manager of any difficulties you encounter.
Crew Calls: You are responsible for conversing with your crew and creating a crew call schedule. This should be
approved by the technical director.
Rehearsal Props: Requests for rehearsal props will be listed in the daily rehearsal reports, but do not let this stop
you from providing props that you know will be needed. These should be given to stage management no
more then two days after the report is sent out. The props should be delivered in person, before rehearsal,
and with an explanation of their purpose.
o Sources: Rehearsal props can be pulled from storage, mocked up out of cardboard and wood, or
otherwise modified from existing objects. Most of the time they do not have to be an exact replica of
the performance prop, as their entire purpose is to give the actors a chance to get used to the prop and
work the prop into their action.
Storage and Care: You are responsible for giving stage management some method of storing props when not in
use. There are a number of large plastic bins in the shop that may be used for this purpose. You are also
responsible for giving stage management proper instruction and supplies to care for the props (Ex: polish for
a silver tea service).
Properties List: It is your responsibility to keep the props list up-to-date. Added or cut props will be listed in the
daily rehearsal reports, as well as any notes for them.
Performance Props: You are responsible for ensuring that all properties exist in final form before the first dress
rehearsal.
o Pull: Many props can be pulled from stock.
o Modify: Many more can be modified from existing stock.
o Borrow / Rent: Sometimes, an item can be borrowed or rented from another theatre or business.
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Bought: As a last resort, an item may be purchased, but you should never pay for it out of pocket.
Build: Particularly unique items, or those that must perform specific functions, will probably be built.
Technical and Dress Rehearsals
- Attendance: You are required to attend all technical and dress rehearsals.
- Prop Tables: Work with stage management and your properties running crew, if any, to establish prop tables in an
out of the way location backstage. These are usually 2 x 8 or 4 x 4 folding tables. You must discuss the
locations of these tables with stage management, electrics, costumes, and the technical director to ensure that
the tables are not impeding anything.
- Special Situations: You should work with stage management to help resolve any special situations that arise.
Please remember, however, that the stage manager has the final word and you should do your best to
conform to their needs.
Strike
- Prop Strike: As part of strike, props will be removed from the set and backstage and moved to the props loft. Any
borrowed or rented props should be set aside somewhere safe.
- Return Props: Borrowed or rented props should be returned with a returned item form. This should describe what
was borrowed/rented, the dates of rental, and signed acknowledgment by the owner that the item is being
returned in the same or better condition than it left in.
- Restore Prop Loft: Your job is not over with strike. You are responsible for restoring the properties loft to a nicer
condition than the one you found it in. Nobody wants to walk into a messy war zone of old books and
silverware, so please make it clean and neat before you leave.
Policies
- Prop Management: As properties master / mistress, your duties and responsibilities are not to act as properties
designer, but to execute, implement, and organize the properties for a production.
- Purchases: All purchases at Longwood must be put on a university-issued Mastercard, for which the faculty scenic
designer, costume designer, and technical director are solely responsible.
- Shop Rules: Scene Shop Rules are to be followed at all times. No exceptions.
- Special Needs: If there is a property that has special requirements (must shatter, working phone, dimmable lights,
etc.), you should speak with the scenic designer and technical director about how to accomplish these. You
will likely have to work with another department for these, and during such time you should be as
cooperative and grateful as possible for whatever help they can give you.
- Paint: Prop painting duties may be shared with the paint crew and should be discussed with the scenic designer
and scenic charge.
- Combinations: If you are given the combination to any of the locks in Jarman, you are expected to maintain its
confidentiality. Whenever you unlock a padlock in Jarman, always reset the dials to all zeros to keep the
combination secret.
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Properties Crew
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive.
Rehearsal Period
- Duties: The properties crew exists to assist the properties master / mistress in the acquisition, construction, and
maintenance of all properties. Research or design work is neither expected nor encouraged, but theatre is a
collaborative art, so do not feel afraid to offer suggestions.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your crew calls will be set by the properties master / mistress. Plan to arrive (and actually
arrive) 5-15 minutes before your scheduled call. Disasters will happen, so plan for them.
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Properties Running Crew
(You should also receive and sign a Running Crew Contract)
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive.
Performance
- Attendance: You are expected to attend all performances, technical and dress rehearsals, and as many regular
rehearsals as the stage manager deems necessary.
- Running Crew: You are part of this production’s running crew and, as such, fall under the domain of stage
management. If the stage manager or an assistant stage manager asks you to do something, please do your
best to accommodate them. You should also keep them appraised of any events, unusual or otherwise.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your call time will be set by the stage manager. Plan to arrive (and actually arrive) 5-15
minutes before your scheduled call. Disasters will happen, so plan for them.
- Duties: You need to speak with stage management regarding your specific responsibilities for this production, but
your duties will very likely entail presetting properties, checking to ensure that all properties are in good,
working condition, resetting and cleaning properties during and after the performance, striking key
properties post-show, and generally assisting stage management with the movement of properties backstage.
- Maintenance: If any properties need emergency maintenance, it is your responsibility to have them ready to at
least go on that night, although further maintenance will likely have to be done by you or the properties
master / mistress to ensure that the property will remain sound for the remainder of the run.
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Position:
Properties
Please Circle One:
Properties Master / Mistress
Properties Crew
THEA 103 – Production Credit Form
ALL Students participating in a show must fill out this form. A separate form must be used for each position
held. Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I am currently enrolled in a technical theatre class (Ex: Technical Theatre, Lighting Design, Stage
Properties, etc.) and cannot receive a play production credit.
Class:
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play production credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
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Running Crew
“1”
-1
General Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
Part of this responsibility entails you supporting and aiding the stage management team and the other actors.
If you have difficulties with another member of the running crew, speak to the stage manager or an assistant.
Do not, for example, start getting into a shouting match with the other person in the middle of a performance
and do not belittle or undermine the authority of another crew member.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive,
especially the electrics section.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. This is especially important for the running crew and you should plan to arrive (and
actually arrive) 5-15 minutes before your scheduled call. Disasters will happen, so plan for them. The stage
manager will set your call time depending on the tasks that need to be accomplished before each
performance.
Rehearsal Period
- First Running Crew Meeting: About a week and a half before tech week, the stage manager will schedule the
first meeting with the entire running crew. At this meeting, you will all be given these contracts and the stage
manager will generally go over what will be expected of you during the running of the production. They will
also bring up any difficulties unique to this production and you should ask any questions that you have at
this meeting.
- Practice: The stage manager may call in parts or all of the running crew between the meeting and tech week to
ensure that everybody has time to get used to their duties before leaping headfirst into tech week. It is your
responsibility, however, to come in and practice your duties on your own time.
Technical and Dress Rehearsals
- Attendance: You are required to attend all technical and dress rehearsals.
- Sign-in: When you arrive, there will be a sign-in sheet in the Tech section of the call board. Initial in the
appropriate box when you arrive.
- Second Running Crew Meeting: A few hours before the first technical rehearsal, there will be a second meeting
for the entire running crew. At this meeting, the stage manager will explain the exact procedures of running
the show and all necessary rules, such as headset behavior, promptness, and professional attitude. You, as a
member of the running crew, need to be ready at a moment’s notice to tackle any emergency that might crop
up; you must also present a calm, united, and very helpful front to the actors and to anybody else.
o Dry Tech: A “dry tech” is a technical rehearsal without actors (or with only a few specific ones). It is
most often used to test and practice delicate scene shifts to ensure that they will work in the space and
that any major kinks are worked out before the actors are added in. If needed, this would take place on
Friday during the day of the first technical rehearsal.
- Running: Most technical rehearsals are run as follows…
o …the play is run from top to bottom as in a normal run-through, with the stage manager calling cues
o …if a cue is messed up or needs to be fixed, the SM will call out, “Hold, Please” or “Stop, Please”
o …then, that cue is done again and again until it is gotten right.
o …if they play comes to a particularly difficult scene shift involving a number of actors or technicians
seeing it for the first time, the SM will stop the show and walk through it under full lights once so that
everybody can see what is going to happen
o …if there is a section of the play that contains no cues and only dialogue, it may be for the best to skip
it in its entirely. In such a case, the SM will simply call a hold and then give the actors the next line
they should pick up with, preferably a few lines before the next cue
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- Cue To Cue: An alternate method of running the rehearsal is go from one cue to the next to the next. This can be
done with or without actors (usually with) and neatly cuts out any long monologues or otherwise nontechnical portions of the show. This method may not be feasible for certain shows, such as those with lots of
musical underscoring or where timing is essential.
- Designer / Director Notes: If your designer comes over to you in the middle of the rehearsal and asks you to make
an adjustment, do so to the best of your ability. If what they tell you to do conflicts with what the stage
manager is telling you, go with the designer until they tell you otherwise, but be sure to inform the stage
manager of this. The director should not be giving notes to the running crew in the middle of the rehearsal,
but if they do, those notes are usually directed at the sound board operator and typically involve the word
“louder”. Whatever happens, though, try to adapt to the director as best as possible and keep the stage
manager informed of what is going on.
- Adjustments: Be prepared to make adjustments from rehearsal to rehearsal, based on notes from the stage
manager and designers. If you have been given a note that you think the stage manager does not know about,
tell them.
Calling and Headsets
- Style: Every stage manager will have their own style for calling cues. Listed herein, however, are a few basic
guidelines and some suggestions.
- Clarity / Volume: Remember to speak clearly and quietly into the headset. Try not to swallow the microphone or
have it three miles from your mouth. Enunciation will help you to remain quiet and still be heard over the
headset. Also, remember that you have control over your earpiece volume. If you cannot hear somebody
because they are being quiet, turn up your volume.
- Go: All running crew members should take their cues on the word “go” and, more specifically, on the ‘guh’ sound
of that word. If you have to say this word at any other time, such as during a talk-through, say “gee oh”.
Reserve the actual word for the calling of cues.
- Department Names: When at all possible, the stage manager will try to use the names of the various running crew
departments in their calling, such as “Lights”, “Sound”, “Fly”, etc. These will help to alleviate confusion,
especially if they have trained you to listen for both the “go” and the preceding department name.
- Talk-through: If the stage manager is coming up to a difficult cue sequence and have the time available, they will
talk you crew through the entire sequence, giving you ample warning of what will be happening. This is
especially important when cues will come in quick succession, and it is not always necessary.
o Simple Example: “Standby Light 40, Sound 1. Light 40… Go. Sound 1… Go.”
o Complicated Example: “Alright, folks, on my first G-O, we are going to take Light 50, Sound 2, and
Pyro 1. On my second G-O, we will take Light 60 and Sound 3. Standby Light 50, 60, Sound 2, 3, and
Pyro 1. Light, Sound, Pyro… Go. Light, Sound… Go.”
- Warnings / Standbys: A warning is typically given a page ahead of the cue in question and is intended to alert
running crew who may be watching the show and allow them to get into position, especially useful when
dealing with spotlight operators. A standby, on the other hand, is a more immediate notice that a cue is
approaching. Coming anywhere from a few lines to a paragraph or two ahead of the cue, a standby tells the
running crew what cues that will be going into and gets them “standing by” to take that cue at an instant’s
notice. Example: “Stand by Lights 120, 130, Sound 5, and Slide 3”
o Reaction: When you hear a warning, you should get yourself ready to take the next cue, by preparing
sound media or unlocking your spotlight. When you hear a standby, you should literally be “standing
by” and ready to take the cue. A light board operator should hand their finger above and back from
the Go button so they can hit it in a single motion, a fly rail operator should have their hands on the
rope and the brake disengaged, etc.
- Response: After every standby, you are to respond with the name of your department and in the order that the
standbys were given. For the above example, the light board operator would reply, “Lights”, then the sound
board operator would reply “Sound”, and, finally, the projectionist would reply, “Slide”. Do not, under any
circumstances, fail to give a response.
- Headset Chatter: Keep this to a minimum, especially during and around cue sequences. In fact, when the stage
manager calls a warning, conversations should wrap up or pause, and a standby is to halt all conversations
beyond those strictly necessary for the cue sequence. It is inevitable, however, that people will talk during
long, quiet portions of the show. Be aware, however, that you are running a show and that audience members
can often hear you talking. Speak quietly and keep the conversation light. Do not antagonize or harass others
over the headset.
- Headset Responsibility / Etiquette: You are responsible for your headset and its proper use. Do not drop it, drag
it across the floor, or otherwise abuse this very expensive piece of equipment. Do not let anybody who is not
a member of the running crew speak on them, with the single and only exception of the stage manager
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asking you to put somebody else on the headset. This includes actors, directors, audience members, fellow
students, and stray pets. When you are on your headset, be courteous and respectful. When the stage
manager is talking, do not interrupt them. When somebody is asking what you might consider to be a silly
question, given them a polite answer. Do not play with the signal button on your headset pack. Do not make
funny or distracting noises over the headset. Do not leave your microphone on when not talking. Do not take
your headset off or leave your headset without first notifying the stage manager and getting a response from
them. The worst thing that could happen is if everybody backstage took off their headsets for various reasons
and suddenly the stage manager has absolutely no contact with the actors or backstage crew.
- Faulty Headset: All headsets will be tested prior to the house opening, and the sound board operator will work to
fix any faulty headsets that are discovered. Should a headset microphone or talk button fail during the
running of a show (the most common failure), tell the stage manager at the earliest opportunity and, in the
meanwhile, use the signal button located on your headset pack to give yes and no responses.
o One “long” is No
o Three “short” is Yes.
- Emergency Contact: If you need to get a hold of the stage manager during a standby, you should say their name
and then wait for them to say, “Hold” or “Go on”. Sometimes, even in a standby, there is enough time to
quickly deal with a question from an assistant or a comment from a board operator. Keep your comments in
such instances short and to the point. Do not apologize, make excuses, or otherwise waste precious time with
unimportant details. Keep to the pertinent facts so that the stage manager can quickly assess and respond.
Performance
- Attendance: You are required to be present at crew call for every performance.
- Preshow Duties: As you complete your preshow duties, sign off on them on the Preshow Checklist. This, along
with the Intermission and Post show Checklists, is located just outside the stage right stage door.
Strike
- Strike: You are required to attend strike and, unless otherwise informed, you have no specific strike assignment.
Policies
- Purchases: All purchases at Longwood must be put on a university-issued Mastercard, for which the faculty scenic
designer, costume designer, and technical director are solely responsible.
- Shop Rules: Scene Shop Rules are to be followed at all times. No exceptions.
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Sound Board Operator
Responsibilities
Rehearsal Period
- Comprehension: You are responsible for working with the sound engineer, technical director, and sound designer
to ensure that you understand how to effectively operate, troubleshoot, and care for all sound equipment that
will be used in the show. This includes, but is not limited to, the mixer, amplifiers, speakers, wireless
microphones, props that make sound, practical speakers on stage, all sound cable, and the headset system.
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Light Board Operator
Responsibilities
Rehearsal Period
- Comprehension: You are responsible for working with the master electrician, technical director, and deck
electrician to ensure that you understand how to effectively operate, troubleshoot, and care for all lighting
equipment that will be used in the show. This includes, but is not limited to, the light board, lighting
instruments, gels, templates, lighting accessories, projectors, lamps, running lights, spotlights, fog machines,
haze machines, wind machines, strobe lights, and any other special effects.
Performance
- Duties: You need to speak with stage management regarding your specific responsibilities for this production, but
your duties will very likely entail the following…
o …turning on and off the light board each night
o …conducting the dimmer check with the master electrician
o …ensuring proper house light functionality
o …taking light cues from the stage manager
o …putting out the ghost light before leaving
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Spot Light Operator
Responsibilities
Rehearsal Period
- Comprehension: You are responsible for working with the master electrician and technical director to ensure that
you understand how to effectively operate, troubleshoot, and care for your spotlight. You are especially
responsible for keeping your spotlight well oiled and practicing before tech week to ensure that you can
execute smooth, effortless spot light cues.
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Deck Electrician
Responsibilities
Rehearsal Period
- Comprehension: You are responsible for working with the master electrician, technical director, and light board
operator to ensure that you understand how to effectively operate, troubleshoot, and care for all lighting
equipment that will be used in the show. This includes, but is not limited to, the light board, lighting
instruments, gels, templates, lighting accessories, projectors, lamps, running lights, fog machines, haze
machines, wind machines, strobe lights, and any other special effects.
Performance
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Projectionist
Responsibilities
Rehearsal Period
- Comprehension: You are responsible for working with the master electrician and technical director to ensure that
you understand how to effectively operate, troubleshoot, and care for all projection equipment that will be
used in the show. This includes, but is not limited to, the computer, the projector, all power and data cables,
and any programs being used for the projecting.
Performance
- Duties: The electrics crew exists to assist the master electrician in the hanging, focusing, and maintenance of all
electrics equipment.
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Fly Rail Operator
Responsibilities
Rehearsal Period
- Certification: You are responsible for working with the technical director to ensure that you are certified and
trained on the fly rail system, loading gallery, and that you have been cleared to go up to the grid.
- Comprehension: You are responsible for working with the technical director to ensure that you understand how to
effectively operate, troubleshoot, and care for the fly rail system and loading gallery.
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Deck Hand
Responsibilities
Rehearsal Period
- Comprehension: You are responsible for working with the stage manager and technical director to ensure that you
understand how to effectively operate, troubleshoot, and care for all moving pieces in the set. You need to
have physically laid hands on all moving pieces and be comfortable with their operation prior to tech week.
Performance
- Duties: As a deck hand, your duties are to assist the stage management team in whatever capacity they deem
appropriate. Often, these duties may involve moving set pieces, handing off properties to actors, or even just
keeping an eye out to ensure that nobody gets hurt in the backstage shuffle. No matter what they are,
however, you should perform them to the best of your ability and as quickly as possible. If an assistant asks
you to run and fetch the wardrobe supervisor, chances are that it is not just to chat about the weather.
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Properties Running Crew
Responsibilities
Rehearsal Period
- Comprehension: You are responsible for working with the properties master / mistress to ensure that you
understand how to effectively operate, troubleshoot, and care for all properties that will be used in the show.
This includes, but is not limited to, last-minute quick fixes, ensuring proper operation of practical props, and
on-the-fly adjustments to accommodate changes.
Performance
- Duties: You need to speak with stage management regarding your specific responsibilities for this production, but
your duties will very likely entail presetting properties, checking to ensure that all properties are in good,
working condition, resetting and cleaning properties during and after the performance, striking key
properties post-show, and generally assisting stage management with the movement of properties backstage.
- Maintenance: If any properties need emergency maintenance, it is your responsibility to have them ready to at
least go on that night, although further maintenance will likely have to be done by you or the properties
master / mistress to ensure that the property will remain sound for the remainder of the run.
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Position:
Running Crew
Please Circle One:
Sound Board Operator
Light Board Operator
Fly Rail Operator
Spot Light Operator
Deck Hand
Deck Electrician
Properties Running Crew
Projectionist
THEA 103 – Production Credit Form
ALL Students participating in a show must fill out this form. A separate form must be used for each position
held. Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I am currently enrolled in a technical theatre class (Ex: Technical Theatre, Lighting Design, Stage
Properties, etc.) and cannot receive a play production credit.
Class:
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play production credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
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Scenic Painting
“Only when he no longer knows what he is doing does the painter do good things.”
- Edgar Degas
Scenic Charge
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive,
especially the electrics section.
- Warnings: Wet paint and actors do not mix terribly well and, ultimately, end up ruining clothes and a wonderful
paint job. So, you need to keep in contact with stage management on a daily basis, keeping them up to speed
on what has just been painted, what is safe to touch, and anything that the actors should be especially careful
to keep their hands off of (such as anything involving enamel-based paints).
Weekly
- Designer Meetings: You should meet with the scenic designer on a weekly basis, to ensure that you are both
operating on the same page. At these meetings, you should bring up any questions you have and any ideas
for how to make any unusual painting requirements work properly on the set.
- Production Meetings: You are not expected to attend the weekly production meetings
Rehearsal Period
- First Designer Meeting: Shortly after getting this position, you should meet with the scenic designer to learn what
their concept of the show is, to discuss the paint requirements for the show, and to receive the paint
elevations from them.
- Analyze Paint Elevations: You must analyze the paint elevations to gain an understanding of how you will
execute the necessary techniques. You must also determine what paints and painting tools will be needed.
- Inventory / Wish List: With your analysis of the paint elevations in hand, you should create and maintain an
inventory of paints, painting supplies, and any specialty materials. Make note of anything that will be
needed, especially if it does not exist in the theatre. From this inventory, construct a wish list of needed and
desired items to best execute the paint elevations.
- Ordering: All purchases must be made through the faculty technical theatre professor. You need to research your
needed items and produce an order for the professor to look over, including costs. You should speak to the
professor ahead of time to find out if there are supplies that we are required to use.
- Contracts: You will be given a packet of contracts for yourself and your crew by the stage manager. You need to
have your crew read and sign the last page of their contracts. After they do so, please tear off and return only
the last page to the stage manager. You may need to schedule a special crew meeting for this and it should be
completed within a week of receiving the packet. Students on multiple crews must sign and return a last page
for each crew that they are on. Lastly, please inform the stage manager of any difficulties you encounter.
- Second Designer Meeting: After the analysis and inventory are complete, you should schedule a second meeting
with the scenic designer. At this point, you and the designer should also discuss any special techniques they
wish to be used, method of execution, and any other questions or concerns that you may have. You should
also bring your inventory and wish list to this meeting, so that the scenic designer can see to it that the items
in question will be ordered for your use.
- Technical Director Meeting: You should meet with the technical director after your second designer meeting, but
before your first paint call. At this meeting, you should discuss the order in which set pieces are to be
painted. This should be a compromise between the technical director and yourself because just as they may
not understand how difficult a unit will be to paint, you may not understand hot difficult a unit will be to
build.
- Crew Calls: You are responsible for conversing with your crew and creating a crew call schedule. This should be
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approved with the technical director and should be set in reasonably firm clay. Sitting down in the first week
with the schedules of your painters and working out a rough schedule for the entire production would not be
a bad idea and would, in fact, make your life a good deal easier.
- Care and Maintenance: You are responsible for the proper care and maintenance of all paints and paint supplies
during the production. You are also responsible for ensuring that your crew understands how to properly care
for their paints and supplies.
Paint Call
- Attendance: You are required to attend all crew calls for your painters.
- Preparation: Ensure the following…
o …scenic units have a grid established on them and any designs lofted onto them
o …paints have been pulled from stock and mixed to the proper colors
o …painting tools have been thoroughly cleaned and are ready for use
o …sufficient masking (tape and otherwise) exists to keep paint where you want it
- Training: You are responsible for instructing your crew in the proper methods of painting and cleaning up after
themselves.
- Clean up: Before leaving, ensure that your crew has sealed all paint cans and put them away, washed all brushes
and rollers, and cleaned up their workspaces. It is up to you whether each crew member cleans up their own
space or whether the entire crew works to clean up everybody’s spaces.
Technical and Dress Rehearsals
- Attendance: You are not required to attend technical or dress rehearsals. You and your crew, however, must
remain available and easy to contact for the entire tech weekend in case some emergency painting needs to
be finished. Under no circumstances should you leave town without giving the technical director sufficiently
advanced notice. A valid excuse would not hurt, either.
- Notes: Between one of technical or dress rehearsals and the next, you should implement all of the notes that the
scenic designer gives you.
- Touch-up Kit: You are responsible for providing stage management with a touch-up kit and instructing them in its
usage. Typically, such kits contain the most basic colors on the stage along with a few special colors (if there
are any), thus allowing a stage manager or their assistant to repair any dings or nicks immediately prior to a
performance.
Performance
- Major Repairs: Remember to read your performance reports every night, as disasters love to catch us when we
are least prepared. If major repairs to paint are necessary, you and your crew will need to come in and
complete them.
Strike
- Strike: You and your crew are required to attend strike, although you have no specific duties to accomplish during
the official strike. You should arrive and be prepared to help out in whatever capacity necessary.
- Restore Paint Closet: Your job is not over with strike. You are responsible for restoring the paint closet to a nicer
condition than the one you found it in. It is very easy for paint brushes or cans of paint to be left out, so
please make it clean and neat before you leave.
- Final Inventory: Lastly, you must update your initial inventory of paint and supplies to reflect what has already
been used and turn this in to the faculty scenic designer. To keep this task from becoming a distracting
burden, it is suggested that it be completed within a few days of strike.
Policies
- Purchases: All purchases at Longwood must be put on a university-issued Mastercard, for which the faculty scenic
designer, costume designer, and technical director are solely responsible.
- Shop Rules: Scene Shop Rules are to be followed at all times. No exceptions.
- Combinations: If you are given the combination to any of the locks in Jarman, you are expected to maintain its
confidentiality. Whenever you unlock a padlock in Jarman, always reset the dials to all zeros to keep the
combination secret.
- Paint Disposal: Before any paint cans are disposed of, the remnants inside of them must be thoroughly mixed with
sawdust and left to dry for a day or two. Only after this is it to be throw out with the rest of the trash.
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Scenic Painter
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Respond to all crew call messages or email with
either an acknowledgment or a reason why you might not show up on time. Do not expect to show up late
with an excuse like, “Well, my class runs until 2.15, so I couldn’t make the 2.00 crew call…” You should
have already told the sound engineer this when they gave you the date and time of the crew call.
Rehearsal Period
- Duties: The scenic painters exist to paint the set for the production, under the tutelage and guidance of the scenic
charge. Your crew calls will be set by the scenic charge and may include some evening calls.
- Clean up: You are responsible for cleaning up after yourself. Before you leave, ensure that all of your materials
and supplies have been properly cleaned and put away. Also, if you see that another crew member has left
without cleaning up their workspace, please take the time to clean it up yourself, and then speak to the scenic
charge about the problem. Nobody wants to kick over a left out bucket of paint, or have to clean dried paint
out of brushes.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your crew calls will be set by the scenic charge. Plan to arrive (and actually arrive) 5-15
minutes before your scheduled call. Disasters will happen, so plan for them.
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Scenic Artist
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive.
Rehearsal Period
- Duties: The scenic artist is a specialist in a specific paint technique. While you are not expected to participate in
every aspect of the paint crew, you are responsible for the setup and implementation of your particular
technique. Your calls will be determined by the scenic charge and based upon the needs of the production.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your call time will be set by the scenic charge. Plan to arrive (and actually arrive) 5-15
minutes before your scheduled call. Disasters will happen, so plan for them.
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Position:
Scenic Painting
Please Circle One:
Scenic Charge
Scenic Painter
Scenic Artist
THEA 103 – Production Credit Form
ALL Students participating in a show must fill out this form. A separate form must be used for each position
held. Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I am currently enrolled in a technical theatre class (Ex: Technical Theatre, Lighting Design, Stage
Properties, etc.) and cannot receive a play production credit.
Class:
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play production credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
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Sound
“He knew the precise psychological moment when to say nothing.”
- Oscar Wilde
Sound Engineer
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive,
especially the electrics section.
Weekly
- Designer Meetings: You should meet with the sound designer on a weekly basis, to ensure that you are both
operating on the same page. At these meetings, you should bring up any questions you have and any ideas
for how to make any unusual sound effects work properly in our space.
- Production Meetings: You are not expected to attend the weekly production meetings
Rehearsal Period
- Certification: You must be certified on both the fly rail system and the loading gallery. Ideally, your crew should
also be certified for both of these systems.
- First Designer Meeting: Shortly after getting this position, you should meet with the sound designer to learn what
their concept of the show is, as well as to discuss the sound requirements for the show.
- Inventory: You are responsible for creating and maintaining an inventory of all microphones, cable, and other
sound equipment. Make special note of anything that will need to be ordered.
- Ordering: All purchases must be made through the faculty technical theatre professor. You need to research your
needed items and produce an order for the professor to look over, including costs. You should speak to the
professor ahead of time to find out if there are supplies that we are required to use.
- Contracts: You will be given a packet of contracts for yourself and your crew by the stage manager. You need to
have your crew read and sign the last page of their contracts. After they do so, please tear off and return only
the last page to the stage manager. You may need to schedule a special crew meeting for this and it should be
completed within a week of receiving the packet. Students on multiple crews must sign and return a last page
for each crew that they are on. Lastly, please inform the stage manager of any difficulties you encounter.
- Crew Calls: You are responsible for conversing with your crew and creating a crew call schedule. This should be
approved with the technical director and should be set in reasonably firm clay. Sitting down in the first week
with the schedules of your sound technicians and working out a schedule for the entire production would not
be a bad idea and would, in fact, make your life a good deal easier.
- Care and Repair: You are responsible for the care and repair of all sound equipment, cable, and accessories
during the production.
- Speaker Placement: You should, after consultation with the sound designer and director, work with your crew to
place the speakers where they will be the most effective.
- Special Preparation: As sound engineer, you should personally implement any extremely unusual sound
preparation, such as wiring a practical speaker or attaching a wireless microphone to a guitar.
Technical and Dress Rehearsals
- Attendance: You are required to attend all technical and dress rehearsals.
- Training: You should meet with your sound board operator and the stage manager prior to the first technical
rehearsal in order to discuss their duties during the run of the show.
- Headsets: You and your crew are responsible for rigging headsets for the stage manager, every board operator, any
spotlight operators, and any backstage positions that the stage manager requests. You should meet with the
stage manager before the first technical rehearsal to determine exactly where the headsets should be placed.
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Lastly, you should ensure that the stage manager and sound board operator know how to properly treat their
headsets. The stage manager will, in turn, ensure that the running crew also knows this.
- Notes: After every technical or dress rehearsal, you should implement all of the sound designer’s notes.
- Special Situations: You should work with stage management and the sound designer to help resolve any special
situations that arise.
Performance
- Attendance: It is not required, but it would not hurt for you to attend at least the opening night performance. You
should, however, keep yourself available to come to the theatre in the event of an emergency.
- Training: You are required to train your sound board operator in the proper operation and maintenance of all
sound equipment that is to be used in the performance. They should be able to fix any reasonable difficulties
that might arise during the run of a performance. If the show contains fragile backstage elements, such as
wireless body microphones, it would not be a bad idea to give one or both of the assistant stage managers a
lesson in the operation of those elements and how to fix the most likely problems they will encounter.
- Supplies: Ensure that the sound board operator has the proper supplies to do their job each night, such as new
batteries for the wireless microphones. Check with the technical director if you need assistance getting any
of these supplies.
Strike
- Sound Strike: As part of strike, all sound equipment, running crew headsets, and cable should be removed from
stage and house and put away. Similarly, any wireless microphones that were given to actors must be
retrieved, cleaned thoroughly (especially in the case of body microphones), and put away. Lastly, at the
discretion of the sound designer and director, any and all sound material for the play should be either
returned to the sound designer or placed in the theatre’s archive.
- Restore Sound Closet: Your job is not over with strike. You are responsible for restoring the sound closet and
sound board to a nicer condition than the one you found them in. Nobody wants to walk into a deadly tangle
of XLR cable and scattered microphones, so please make it clean and neat before you leave.
Policies
- Purchases: All purchases at Longwood must be put on a university-issued Mastercard, for which the faculty scenic
designer, costume designer, and technical director are solely responsible.
- Shop Rules: Scene Shop Rules are to be followed at all times. No exceptions.
- Jarman’s Sound System: Always turn the amplifiers on last and off first.
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Sound Crew
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Respond to all crew call messages or email with
either an acknowledgment or a reason why you might not show up on time. Do not expect to show up late
with an excuse like, “Well, my class runs until 2.15, so I couldn’t make the 2.00 crew call…” You should
have already told the sound engineer this when they gave you the date and time of the crew call.
Rehearsal Period
- Duties: The sound crew exists to assist the sound engineer in the implementation, execution, and eventual
deconstruction of the sound design for the production.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your crew calls will be set by the sound engineer. Plan to arrive (and actually arrive) 5-15
minutes before your scheduled call. Disasters will happen, so plan for them.
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Sound Board Operator
(You should also receive and sign a Running Crew Contract)
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Read every rehearsal report you receive.
Performance
- Attendance: You are expected to attend all performances, technical and dress rehearsals, and as many regular
rehearsals as the stage manager deems necessary.
- Running Crew: You are part of this production’s running crew and, as such, fall under the domain of stage
management. If the stage manager or an assistant stage manager asks you to do something, please do your
best to accommodate them. You should also keep them appraised of any events, unusual or otherwise.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. Your call time will be set by the stage manager. Plan to arrive (and actually arrive) 5-15
minutes before your scheduled call. Disasters will happen, so plan for them.
- Duties: You need to speak with stage management regarding your specific responsibilities for this production, but
your duties will very likely entail the following…
o …turning on and off the sound board each night
o …conducting a sound check to test levels and functionality of all media (to be scheduled with stage
manager)
o …ensuring functionality of all running crew headsets
o …replacing batteries in any wireless microphone before every performance
o …taking used batteries to the facility manager’s office to be tested for power level and sorted
accordingly
o …handing out wireless microphones to the necessary actors or technicians
o …taking sound cues from the stage manager
o …wiping down wireless body microphones with disinfectant after every performance
o …collecting and storing all wireless microphones after every performance
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Position:
Sound
Please Circle One:
Sound Engineer
Sound Crew
THEA 103 – Production Credit Form
ALL Students participating in a show must fill out this form. A separate form must be used for each position
held. Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I am currently enrolled in a technical theatre class (Ex: Technical Theatre, Lighting Design, Stage
Properties, etc.) and cannot receive a play production credit.
Class:
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play production credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
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Stage Management
“Mine is not to report problems; mine is to solve them.”
- Gene Muto
"We the willing, led by the unknowing, are doing the impossible, for the ungrateful. We have done
so much, for so long, with so little; that we are now qualified to do anything with nothing."
-Anonymous
Stage Manager
Responsibilities
Daily
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, designers, and other individuals. Also, as a stage
manager dealing with others, remember that it is never personal. If somebody messes up and you have to
correct him or her, do not make a personal issue out of it.
- Communication: Check your Email daily. Read and respond to every Email that you receive, even if it is only an
acknowledgment that you have read the message. If you have a cellular phone and have given out its number
as a way to contact you, ensure that you do not leave it somewhere or keep it turned off. People need to be
able to communicate with you, not just you with them.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. This is especially important for stage management and you should plan to arrive (and
actually arrive) 5-15 minutes before your scheduled call. Disasters will happen, so plan for them. It is, after
all, difficult to punish actors for being late if you walked in twenty minutes after your call time.
- Call Board: The stage manager of the current mainstage production is responsible for keeping the call board neat,
organized, and useful.
o New information should be placed in the “New” section for two (2) business days before being moved
to a more appropriate section.
o The traditional sections and colors are: New (pink), General Info (orange), Upcoming Events (green),
Mainstage (purple), Tech (yellow), and Studio Theatre (blue).
o Labels for the call board’s sections can be printed from the student drafting computer (paper can be
acquired from the secretary). The official font is Annifont.
o Old, useless, or inappropriate material should be removed.
o As a note, flyers for workshops or other on-campus activities should not be placed on the call board. It
is intended for the sole use of the current mainstage and underground productions. The official theatre
department board is located on the right wall just past the stairwell as you enter the back of Jarman.
o Anything that you post on the call board pertaining to a specific date must be posted no later than ten
o’clock on the morning of that date.
- Courtesy and Composure: While house management may deal with more ‘outside’ individuals than any other
department, stage management deals with more people and departments in the theatre than anybody else. For
this reason, it is paramount that you maintain a pleasant working attitude at all times. You are not required to
smile every second of the day, but you are expected to sufficiently control your own attitude and difficulties
so as not to inconvenience others. Above all else, you should never, ever yell or become belligerent at
another member of the production for any reason whatsoever.
- Mediate: Do not cause problems; solve them. Always do your best to alleviate tensions between individuals and
departments. When there is a dispute, you should be the first one in the middle of it politely asking people to
sit down and discuss the matter like professionals. It is your responsibility to make the production run
smoothly, right down to making sure that the electricians do not drink all of the carpenters’ coffee.
- Listen: Be a good listener and keep your ear to the ground for any potential problems. Sometimes, all somebody
needs is a sounding board to work out their difficulties, and other times, a disgruntled individual will
complain about perceived injustices soon enough for you to keep them from impacting the production.
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- Responsibility: You, as stage manager, are the lowest point in the terrain as far as blame is concerned. When
something goes wrong, you should take responsibility for it. After all, there had to have been something that
you could have done to make sure that it went right. If you are taken to task about an issue, nod, accept any
criticism, and ensure that it does not happen again.
- Confidentiality: You may, in the course of the production, be privileged to have information about the director, an
actor, or something going on behind the scenes. Keep it to yourself. It is not your secret to tell and, thus, you
should not speak a word of it to anybody. If you prove yourself untrustworthy, people will stop telling you
things, and there is little worse than an uninformed stage manager.
- Safety: You should know what to do if somebody is injured during any part of the production process. From
audition to strike, you are expected to react quickly and properly in the event of any emergency.
- Think Ahead: If you are thinking about rehearsal tonight, or even tomorrow evening, then you are thinking too
slowly. You should be aware of events happening weeks in the future and preparing for unforeseen disasters.
Expect a fire momentarily. Is there a fire extinguisher nearby? Is there a phone nearby to call the fire
department? Can you safely get everybody out of the building? Always expect the unexpected.
- Delegation: While the stage manager is responsible for all aspects of a production, they cannot be reasonably
expected to personally complete all such aspects. You have assistants for a reason and you should delegate
whatever tasks you can to them. You cannot do everything and still be able to function as a proper stage
manager and they need the real experience, so everybody wins, in the end.
- Paperwork: Your paperwork should be kept up-to-date at all times, and you should always have easy access to
previous versions. All versions should also be dated and have the author’s initials on them somewhere. This
lets you quickly figure out which version is the latest and also who composed it, in the event that you need to
speak with them. Lastly, when handing out paperwork, it is not a bad idea to write the recipient’s name on
the paper. This way, if you have any left over after a meeting, you know exactly who is missing what.
Pre-Rehearsal
Pre-Audition
- Director Meeting: As soon as possible after receiving this position, arrange a meeting with the director. Every
director will be different, so you need to speak with him or her to discover how to best alter your behavior to
match his or her directing style. At this meeting, do not inquire only about technical aspects – such as
rehearsal schedule, running rehearsals, and any pet peeves or rules of the director – but also discuss their
general idea of the play, to understand where they are coming from and going to. If there is going to be an
assistant director, discuss their role and how they will be used during the production (for example, you may
be running two concurrent rehearsals, which you need to know ahead of time). Please realize that, as a stage
manager, you are not a member of the design staff and that you are here to facilitate the design not alter it.
- Play Analysis: Stage management is more than just sitting in rehearsal and taking down blocking. Before you sit
down with the director, you should have read the play and done some light analysis of its requirements,
getting a general feel for it. After your meeting with the director, you should have a good idea about what
props will be needed, what movements the actors will be doing, and generally have a realistic grip on just
how much work will be required of whom.
- Designer Meetings: After analyzing the script, meet with each of the designers and speak with them to get a feel
for how they work, what they can tell you about their design, and what they will need from you as a stage
manager. This is especially important for the costume designer. Lastly, they should be passing along any
necessary paperwork /information to you, such as a ground plan or that everybody will be in dresses.
- Typed Script: As the stage manager, you must type up the script yourself. This will allow you to not only become
extremely familiar with the play itself, but also format the script to your liking. This will make your life
worlds easier during the rehearsal process, where entire lines or sections may be cut or added at will.
- Script Copies: You need to ensure that there will be enough copies of the script for everybody who will need
them: director, designers, stage management, and actors. Actors will normally be given the bound copies of
the script purchased from the published (or another version, should there not be enough scripts to go around),
stage management and directors are always given the stage manager’s typed version of the script, and
designers may be given either a typed or photocopied version
Paperwork
- General Rules: The following general rules apply to all stage management paperwork:
o Title: Every document should have a title on it that clearly states what it is.
o Date / Author: All paperwork is to have the date of the last revision and the author’s initials on it in a
visible location. This is especially important when a document may have multiple authors, such as the
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property list. (Example: 2/10/06 – BNL)
Confidentiality: All confidential paperwork (such as personal information forms) is to be clearly
labeled as such. No confidential information is to be given out without the permission of the stage
manager or the owner of that information.
Typed Script: The script of the play; typed up and formatted to your liking.
Properties List: This will, in time, be a complete list of all properties in the show, the scene, the associated
character, notes, whether or not it is perishable, how it tracks across stage, and any other important
information. This will begin as a very simple, very vague list and grow into something that is far, far greater.
Character Plot: This document starts off as a scene-by-scene breakdown of what characters / actors are onstage at
any given moment, usually listing page numbers for entrances and exits. As time goes on, costume changes
(both quick and otherwise) can be included, giving a feel for where every actor is at any given point in time.
Contact List: There should be two contact lists: one for the cast and one for the technical crew. While the crew
contact list can contain just primary phone numbers and email addresses, the cast contact list needs to be a
little more detailed. At the very least, it must contain a valid email address, room number, and a cell phone
number. These are to be distributed amongst the cast and designers (although the cast only receive the cast
contact list) and posted on the call board. If the cast contact list contains information that actors would not
want posted publicly, an edited version is to be produced for the call board.
Production Calendar: From the very beginning you need to construct and maintain a production calendar that
contains all dates/tasks from audition to strike, including such things as ‘first day on stage’ and ‘crew watch’.
As things change, update your calendar and distribute copies to all necessary individuals.
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Audition
- Announcements: You are responsible for creating the audition flyers and getting them put up around campus, as
well as any other methods of mass communication, such as speaking to the department secretary about
sending out a department-wide email. As a hint, it you take 11 copies of your flier to the Student Union’s
main office, they will put them up in the Student Union and Dining Hall for you.
- Location: You should know from the director and from talking with others about how many people will be
attending the auditions. In 2005/2006, with 48 theatre majors, it was best to assume that each audition would
draw about 30-50 people, depending on the popularity of the play and the extent of the advertising. Be sure
to find a location big enough. Jarman Mainstage is a good location and is often used for just such purposes.
If it is unavailable for use that evening, speak with the department secretary, who will be able to help you
find out what spaces are available and how to go about reserving them for your use.
- Audition Pieces: Speak with the director about whether they want cold readings, prepared monologues from the
script, or individually prepared monologues. Whatever the answer, you need to include this information in
the audition flyer and then prepare any necessary materials.
- Preparation: The following should be completed to prepare for auditions…
o …ensure that the space is clean and neat
o …turn on enough lights to ensure that the space is well-lit (this may involve speaking to the facility
manager of whatever building you are in)
o …set up a table and chairs for the director and yourself, as well as chairs for the actors
o …have a sign-in sheet and audition forms ready and numbered, so that individuals can audition in the
order they arrived in
o …have copies of the auditions pieces photocopied and ready, if necessary
o …have a pad of paper and writing implements ready for notes
o …set up a pitcher of water and cups, if necessary
o …put out a character plot for the director’s table and, if auditions allow the actors to select their own
scenes to cold read, place one in the actor’s waiting area, as well
o …go over how the audition is going to run with your assistant stage managers and the director to
ensure that you are all on the same page
- Procedure: Every audition will vary, but the general procedure for auditions at Longwood is to have the actors
arrive, sign-in, and fill out their audition forms. Then, after a short introduction by the stage manager and/or
director, they are escorted out of the audition chamber and are called in one by one to give their auditions.
After their audition, they are thanked and reminded to check the call board the following day. After all actors
have auditioned and left for the evening, the director often casts the show right then and there, or he may
decide who to call back for the following evening.
- Casting: Sometimes, the director will seek your advice in casting the show, especially if you have worked with the
actors before and they have not. If asked, you are expected to give only your professional opinion and
experiences. It does not matter if the actor is your worst enemy or best friend, you should give your honest
appraisal of their skills and work ethic.
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- Call Backs: If the director wishes to do call backs, you will very likely follow the same procedures as for
auditions, only without having them fill out audition forms. If there are to be call backs, it should be listed on
the audition flyer and a Call Back List should be posted on the call board the morning after auditions with a
space for each called back actor to initial next to their name.
- Cast List: When the auditions are over and final casting is complete, you are responsible for typing up the cast list
and posting it on the call board by 10am the next morning. This list should also have a space next to each
actor’s name for him or her to initial that they have seen the list. They will all be expected to show up for the
first read-through that evening. Make sure that you thank everybody for auditioning, as courtesy is
everything. Lastly, email a copy of this list to all designers.
- Clean up: Before leaving the audition space each night, it should be returned to a state no worse than the one it was
found in. Tables and chairs should be put away, pencils picked up, and lights turned off. If you are the last
group in the building, remember to put out the ghost light.
Technical Crew Sign-Ups
- Announcements: You are responsible for creating the sign-up flyers and getting them put up, usually only on the
call board and back door of Jarman.
- Time / Place: The sign-ups for technical crews usually take place on the Wednesday and Thursday after auditions
immediately prior to those days’ rehearsals. Another convenient block of time would be during the ‘down
time’ of 3-4:00 pm on any weekday. Although, if there is a convenient Majors/Minors meeting, you may
consider holding sign-ups immediately after it concludes.
- Location: Sign-ups are typically held in Jarman 026, with a simple table or two for students to fill out technical
crew sign-up forms, indicating their experience and preferences.
- Preparation: These sign-ups are fairly simple. You will need copies of the technical crew sign-up forms, which
can be copied from the master sheet in the orange Tech folder in the secretary’s office. You will also need an
abundance of pencils, at least one table, and to be present for the entirely of the sign-up period so that you
can answer any questions that students may have.
Post Auditions / Sign-Ups
- Crew List: Once technical crew sign-ups are completed, you should bring all of the completed forms to the
technical theatre professor or faculty technical director and work with them in assigning students to the
appropriate crews. Often, they will already have certain students in mind for department head positions and
merely need to plug the remaining students into positions where they can learn the most. As you will likely
know the students more personally than the professor, your input can be very helpful in assigning students to
the best positions possible.
- Contracts: As soon as you have the completed cast and crew lists, you should obtain master copies of the
necessary contracts and run off enough copies for every cast and crew member. Packets should be made for
each department head that contain the contracts for themselves and their crews. (You are the department
head for the acting, stage management, and running crew departments.) These packets should be given to the
department heads to be handed out to their crew as soon as possible. The signed last page of every contract
should be returned to you within a week, and you should end up with one signed sheet of paper for each and
every crew position. A particularly active student may very well turn in the last pages from three or four
different crew contracts. Once collected and checked to ensure that all of them have been turned in, the
pages need to be given to the department secretary.
- Contact List: Given the audition forms, you should compile a complete contact list that contains all of the actors
and the production team (designer, director, stage manager, etc.). Remember to ask the production team how
much of their information they would like to have on the list. Some directors may encourage actors to call
them at home, while others abhor the thought. This should be handed out to the actors at the first rehearsal
and to the production team at the first production meeting. Keep this list up to date and ensure that all
necessary parties have updates copies. Take special care to keep the box office involved and informed.
Rehearsal Period
Preparation
- Mailing List: In regards to rehearsals, almost all of your daily correspondence with the department will take place
via Email. To that effect, you will need a mailing list containing the actors and production team, down to
department heads.
- Stage Manager’s Kit: You should put together a stage manager’s kit before the first rehearsal. This contract will
not go into too much detail about it, but the kit should include just about anything that you think you might
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need, and a few things that you hope you never do. Commonly asked-for items include pencils, cough drops,
hair ties, and painkillers.
Forms: Make sure that you have enough forms of the right varieties, such as Accident Report Forms. Many of
these can be copied from master sheets in the secretary’s orange Tech folder.
Stopwatch: Be sure that you possess a stopwatch (preferably a silent one) for the timing of scenes and acts. This
will come in handy at numerous points in the production process.
Spike Tape: Get spike tape from the technical theatre professor. It will be invaluable in taping out the set and
spiking pieces of furniture. Do not, under any circumstances, use masking, gaffers, or duct tape in place of
spike tape. It is a half-inch thick and comes in a small variety of retina-searing colors that are easy to see in
next to no light, which makes it ideal for spike marks and scene shifts.
Location: Speak with the director and the technical director to be sure of where rehearsal will be on any given day.
Stage Management Meeting: Before rehearsals begin, you must have a meeting with the entire stage management
team to discuss how things will be run, to divide duties up amongst the various managers, and to address any
questions. Basically, any potential problems should be worked out ahead of time, so as not to inconvenience
the director or cast.
o Standard Notation: Every stage manager has a different way of taking blocking and writing down
cues. No matter what method you use, you need to ensure that the entire stage management team can
read each others’ blocking and cues, in the event that an assistant needs to take blocking for you, or
call the show from your book. Ensure that a key explaining your chosen style of notation is in a
prominent location in your book.
Tape out Set: Using the ground plan, a scale rule, measuring tapes, a carpenter’s square, and spike tape, you
should tape out the set onto the floor of whatever space you are regularly using for your rehearsals. Be as
precise as possible.
Names: It sounds like a small thing, but remember to learn everybody’s names. It shows competence and will
encourage your actors to like you and be happy (after all, you took the time to learn their names).
Daily
- Rehearsal Report: A rehearsal report should be sent out to every actor and member of the production team every
night via Email. Every report should contain the following…
o …the date and times of the rehearsal
o …who attended (with note of who was late or absent and if such was excused)
o …what was worked on that evening
o …any questions or comments that arose during the rehearsal, broken down by department
o …the upcoming schedule for the next few days
o …your contact information
- Meetings: You will likely have to schedule meetings with the director or designers during the day in order to
gather information or explain a note in one of your rehearsal reports. This is all just part of the job.
- Paperwork: Keep your paperwork up-to-date. This cannot be stressed enough. If something changes, mark it
down and change the necessary paperwork. Do not wait until the last minute, when all of these seemingly
insignificant changes snowball into something big, mean, and utterly unforgiving.
Weekly
- Schedule: If available, you should post the week’s schedule on the call board, in the event that an actor needs to
quickly check it. This schedule should, in a perfect world, contain the dates and times of rehearsals, as well
as what is going to be worked on that evening – Scenes 1-9, Act IV, “Vocal Work”. Not all directors,
however, will be able to give you such detailed information.
- Director / Designer Meetings: You should meet with the director and any pertinent designers every day to ensure
that you are all on the same page and heading in the same direction. The best way to do this is to walk
through the theatre every day and verbally check in with every department to make sure everything is okay.
- Production Meetings: At Longwood, the stage manager is expected to schedule and run all production meetings
during the production. These are weekly meetings where any problems or new information is brought before
the entire production team. More information on these follows at the end of the Rehearsal Period section.
- Production Report: A production report should be sent out after every production meeting, containing a transcript
of everything that was mentioned and agreed to at the meeting. This will serve as a record in the event of a
later dispute over what was said.
First Rehearsal
- Purpose: The very first rehearsal occurs the first evening after auditions have finished. It almost always consists of
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the actors reading through the entire play, the director explaining their concept and ideas for the show, and
the stage manager dealing with company business.
- Set-up: The stage manager and their assistants should arrive early to set up the room with a number of chairs
around one or more tables. This will give all actors space to set out their materials and feel at ease. If
possible (and not in a food restricted area) you may even consider bringing snacks and drinks to help further
ease nervous jitters. Above all else, have extra pencils and copies of important paperwork. Somebody’s pen
will invariably explode all over his or her copy of the rehearsal calendar.
- Read-through: The play may actually be read through more than once, depending on length. During this, you
should be timing each scene and getting a feel for the flow of the show. Your assistants should be making
notes of their various areas, such as mentioned properties or necessary costume changes.
- Company Business: This may actually come before or after the actual read-through, but it is suggested that it
come before and that the actors just be called a little earlier. During this segment of the first rehearsal, you
will be handing out several documents.
o Script: Each actor should be issued a copy of the script for his or her use during the production.
o Contracts: The actor’s contracts should be handed out and you should go through them with the
actors to ensure that they understand it and to answer any questions that might have. Every actor
is to read, sign, and return the last page of their contract to you before the first rehearsal is over.
o Personal Information Form: Every actor and stage manager should fill out one of these forms,
describing any allergies or medical conditions that they might have, as well as emergency contact
information. A copy of this form can be found in the secretary’s orange Tech folder. These may
be handed out by anybody, but only you should collect them, and all information contained
within is to be kept strictly confidential. These forms will be very useful in the unlikely event that
one of your actors should get injured. You can take it with you when you go to the hospital and,
even if the actor is unconscious, give the hospital useful and important information that could
save that actor’s life.
o Actor Bio: Get an actor bio sheet from the box office manager – or create one yourself containing the
name of the actors and spaces for them to list their grade and the last three plays they performed
in – and pass it around to the actors. By the end of rehearsal, it should be completely filled out.
o Calendar: A modified production calendar should be worked up that contains every rehearsal and
performance date and time. This will allow actors to get an overview of the entire process.
o Contact List: Each actor should be given a contact list so that they can always get in contact with you
or an assistant.
o Wallet Card: Produce a wallet card with stage management’s contact information on it, along with
important dates (such as tech week and the performance run). All actors should keep these on
their person at all reasonable times. These cards are far more difficult to lose than contact lists
and can also serve as small keepsakes after the production is complete.
Regular Rehearsals
- Time: The exact time for rehearsals will vary from director to director, but it is accepted that the rehearsal will
begin at that time. Thus, actors will need to be present and warmed up before then and stage management
needs to have the room set up and ready to go.
- Set-up: You and your assistants should arrive approximately thirty minutes before the start of rehearsal, giving you
plenty of time to sweep the rehearsal space for safety, set up a table for yourselves and the director, position
any furniture needed for the rehearsal, and pull out any props that will be used. You should also take this
time to set up your workspace, including such things as pencils, post-it notes, erasers, and other such useful
goodies. If the rehearsal is on stage, you should also bring up some stage lighting to help set the scene.
- Starting: Rehearsal should start exactly on time, which means that if any actor is not in the building or just outside
at five minutes before rehearsal, have an assistant call them.
- Blocking: You are responsible for taking down the blocking as dictated / discovered by the director and actors. It
is suggested that you use a second sheet of paper to record this on, so that you can easily replace it with a
blank sheet of paper if the blocking has to change drastically. This will cut down on the early deaths of your
erasers and it has the added benefit of maintaining the old blocking in case the director wishes to return to it.
- Notes: Take notes of any and everything that the director says during rehearsal. Often, these little side comments
will turn out to be far more important than their delivery makes them out to be. They can also help resolve
minor disputes later on about what the director said. Many of these will likely go into the rehearsal report, as
well,
- Breaks: At Longwood, the actors are entitled to a 5 minute break after 85 minutes of work. You are responsible
for enforcing this break policy and you should have already spoken with the director about how he wishes to
be warned of an approaching break.
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- Lines: When an actor is off book, you should have an assistant “holding book”, which is to mean that they are
following along with the script and are ready for an actor to need a line. Often, this need is indicated by an
actor calling out, “Line!” while remaining in character and largely frozen until the line is given and they
remember where they are in the script. Of course, you will wish to speak with the director concerning their
line-calling policy.
- Special Effects: If the rehearsal calls for special effects (sound cues, light cues, scene changes, etc.), you are
responsible for producing them. The sound designer should provide you with rehearsal sound cues, but light
cues (such as blackouts or sudden flashes) should be spoken aloud by the stage manager. If actors are to
move set pieces during the performance, they are to begin moving those pieces as early as possible, thus
ensuring that they will be familiar with the pieces by first tech.
- Rehearsal Props: The responsibility of gathering rehearsal properties depends on who your properties master /
mistress is. If a student holds that position, they will work with you to pull rehearsal props, and any requests
for those rehearsal props should be submitted via the rehearsal report. If they are busy, or if the properties
master / mistress is a faculty member, then you will be pulling rehearsal props all by your lonesome. If you
do pull your own props, make a note of what you have pulled in the next rehearsal report.
- Rehearsal Costumes: If your actors are given rehearsal costume pieces by the costume department, ensure that the
actors are taking proper care of the pieces and returning them to the costume shop at the end of each
rehearsal. These rehearsal pieces are to be treated as actual performance costumes; there is to be no eating,
drinking, or smoking while wearing them.
- Visitors: The policy on visitors is entirely up to the director, but the default policy is to allow only one or two
visitors to observe the rehearsal on the condition that they remain quiet and do not interrupt the rehearsal in
any way, shape, or form.
- Late Actors: Punctuality is greatly valued in the theatre and in this department. If an actor is late, make note of it,
but allow rehearsal to continue. At the end of rehearsal, ask to speak with them alone. First, ascertain why
they were late and see what you can do to fix the situation. Maybe their watch is just slow, but they need to
be going by your watch, not theirs. Second, if their lateness is completely inexcusable, their call time is to be
moved forward by ten minutes. If the same actor is late to that new call time, it will be pushed forward
another ten minutes, and so on and so forth. In addition to the earlier call time, a fine is to be imposed, as
seen below.
- Fines: The following fines exist as a theatre-wide policy for rehearsals. The money earned through this system
goes towards scholarship contributions in the department. You, as stage manager, are responsible for
collecting and keeping track of this money. You should maintain a record of who owes what fines and when
they are paid. Actors and stage managers are held to these fines and they are to be paid before the end of the
semester (and preferably before the end of the run). The money should be kept in a secure envelope and
turned in to the Alpha Psi Omega business manager as soon as it has all been collected. Should any actor
refuse to pay, inform the theatre coordinator, as the actor’s performance credit grade may depend on it.
Open toed shoes
$ 0.25
No script
$ 1.00
No pencil
$ 0.10
Late
$ 0.20 per minute
Not returning pencil
$ 1.00
Missed fitting
$ 2.00
- Injury: If one of your actors is injured during the course of rehearsal, you should be informed as soon as possible.
Now, if an actor has slipped and cracked their head open and one of your assistants is valiantly holding the
actor’s brains in, then that is a reasonable excuse for not telling you right away. Similarly, a sterile bandage
can be gotten out and held to a small wound while an assistant comes to get you. Once you hear about the
injury, however, you need to turn rehearsal over to an assistant and deal with the injury. Assess whether or
not the actor needs to go to the emergency room to get it taken care of, and whether or not an ambulance will
be required. If it is a serious injury (cracking one’s head open), somebody should already be calling 911.
o Priority: Your first priority is to see that the actor is safely taken care of. If an ambulance or trip to
the emergency room is necessary, you should be grabbing the actor’s Personal Information Form and
rushing them off to the hospital with an assistant taking over the rest of rehearsal.
o Clean up: If the actor has lost blood or other bodily fluids, they need to be cleaned up before anybody
touches them. Use all proper protections and be sure to sanitize and disinfect the area before allowing
anybody to walk through it.
o Paperwork: If any injury happens on school property, you must fill out an Accident Report Form, no
matter how slight the injury. Try to fill this out as close to the accident as possible while that the
details are clear in your mind.
- Leaving: When rehearsal is over, the stage manager is to be the last individual out of the building. Make sure that
your actors know when the next rehearsal is and that they all have a safe way of getting home. If it is
especially late, make sure that none of them walks home alone. Before leaving, you should turn off all lights
in the theatre (with the exception of a ghost light on stage) and double-check that all of the doors are shut
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(especially the front doors, if you have been rehearsing on stage).
Special Rehearsals
- Closed Rehearsal: A director may ask for a rehearsal to be closed for a multitude of reasons, the most common
being the sensitive nature of the scene being rehearsed. In such a case, only stage management, the actors in
the scene, and the director are allowed into the rehearsal. It should be clearly posted on the door that it is a
closed rehearsal and to knock without entering.
- Crew Watch: Crew watch is a time for the running crew and designers to watch the show in full, to get a feel for
it, and it also gives the actors an audience to play off of. It should consist of two consecutive days after the
show has moved to the stage and is performing full run-throughs for most rehearsals. Both crew watch days
should be full run-throughs.
Production Meetings
- Time / Date: Traditionally, production meetings are held every Friday of the production period at 11:00am. This
has been found to be the most optimum time for such a theatre-wide meeting, but you will need to check
with all members of the production team beforehand, just to double-check.
- Agenda: Work up an agenda, even if you will be the only one to use it. Figure out the best order in which to speak
about things and set aside time to talk about any particularly special matters. The normal order of business
tends to be: Director, Publicity, Scenic, Technical Director, Costumes, Lighting, Sound, Director again, and
Stage Management Wrap-Up.
- Set-up: Arrive early enough to set up a table and enough chairs for everybody who will be attending. This is also a
good time to set out any paperwork that you will be handing out during the meeting.
- Keep Order: Maintain some semblance of order at production meetings. While you will not be able to completely
eliminate rambling from the discussion, you should be able to keep everybody roughly on track and limit the
number of tangents. The scenic and sound designers can discuss exactly how they will install a speaker into
the set at some other time.
- Notes: As with rehearsals, notes should be taken of everything said and agreed to at the production meeting.
Experience has shown that it is not a bad idea to have one of your assistants act as a secretary, taking down a
full transcript. All the same, you should take your own notes, to make sure that anything of special
importance is recorded.
Tech Week
Preparation
- Sign-in Sheet: Have a sign-in sheet ready for all actors and members of the running crew with a place for
everybody to initial upon arrival to the theatre for each day of tech/dress rehearsals and performances.
- Headsets: The sound engineer should speak with you before tech week concerning the proper placement of
headsets for your assistants and the running crew.
- Running Lights: Likewise, the master electrician should speak with you concerning the backstage running lights.
- Property Tables: Lastly, the properties master should speak with you and your assistants concerning the
placement of property tables backstage.
- Quick Change Areas: After all of the above have been roughly worked out, you will need to speak with the
costume designer and wardrobe supervisor to work out what, if any, quick change areas will be needed for
the production.
- First Running Crew Meeting: About a week and a half before tech week, you need to have a meeting with your
entire running crew. At this meeting, you should hand out the contracts for the running crew and go over
what will be expected of them during the running of the production. You should also discuss any issues
unique to this production, such as pyrotechnics, visible crew members, or water on stage.
- Scene Shifts: You should work with the director, your assistants, the running crew, and (if necessary) the actors to
figure out exactly how the scene shifts should proceed. This information should be properly documented and
at least walked-through before you get to tech week.
- Tape: Acquire glow and spike tape from the technical theatre professor and have it with your assistants backstage
in the event that spikes need to be changed or steps need to be marked with glow tape.
- God Microphone: Ensure that the sound engineer has set up a god microphone for you to speak to the actors with.
- Running Sheets: Make running sheets. This cannot be stressed enough. If Deck Hand #3 suddenly trips and breaks
their neck on the way to opening night, you will need to replace them, and the best way to do that is to hand
them a neat, organized packet of information containing everything that they will need to do during the
performance. This should be time-sensitive (as in, “at X minutes prior to the curtain, do Y”) and detailed
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enough that a complete novice can be given this packet, an hour’s lecture, and be ready to work. These
running sheets will change, however, so make the time to keep them up-to-date and accurate. These will save
your performance in an emergency more than anything else.
Paper Tech
- Time / Date: Paper tech is, traditionally, held in place of the production’s last production meeting, at 11:00am on
the Friday of first tech.
- Purpose: The idea behind paper tech is to place all of the show’s cues into the script in a rough fashion. The
designers and director will work out the order of the cues and, as they are decided upon, you are to record
them in your prompt script. These cues may very well change, but then, they may not. That is for tech to
decide.
- Cue Sheets: Each designer should have something resembling a cue sheet for you. If available, this is a valuable
resource during tech week for knowing what different cues are, as many of the numbers tend to blur together
after a while.
Technical Rehearsals
- Time / Date: The technical rehearsals have been traditionally held on the following days and times:
o 1st Tech: 7:00pm Friday – 5:45pm Crew – 6:30pm Cast
o 2nd Tech A: 1:00pm Saturday – 11:45 Crew – 12:30 Cast
o 2nd Tech B: 3:30pm Saturday – 3:30 Crew & Cast
- Break: There is a half-hour break between rehearsals for the actors. This is not the kind of break that one should
be leaving the theatre for. They are encouraged to go sit down, take a short nap, relax, have a cigarette, or
whatever else they wish to do with their time. They are not to leave the area of the theatre, though. You are
to ensure that this break is adhered to, and to try and give your running crew as much of a break as you can.
- Double Rehearsal: Two rehearsals are scheduled on the same day in the event that they are both needed. Often,
such is not the case, but it is easier to let people go early than to hold them longer than you said you would.
Consult with the designers and director as to whether or not a second rehearsal is needed, but bear in mind
that no major changes will occur between the two rehearsals. Ultimately, though, it is your decision, as you
must be certain that the show will run smoothly.
- Attendance: All running crew members and actors are expected to arrive at their designated call times for the
rehearsal. Any who are late should be called immediately by stage management.
- Second Running Crew Meeting: A few hours before the first technical rehearsal, you need to have a second
meeting with your entire running crew. At this meeting, you should explain the exact procedures of running
the show and all necessary rules, such as headset behavior, promptness, and professional attitude. The
running crew needs to be ready at a moment’s notice to tackle any emergency that might crop up, and they
must present a calm, united, and very helpful front to the actors and to anybody else.
o Dry Tech: A “dry tech” is a technical rehearsal without actors (or with only a few specific ones). It is
most often used to test and practice delicate scene shifts to ensure that they will work in the space and
that any major kinks are worked out before the actors are added in. If needed, this would take place on
Friday during the day of the first technical rehearsal.
- Full Company Meeting: Before you begin the first technical rehearsal, call the entire company together for a nice
little talk. Remember to be polite and professional and to cover the following points:
o Courtesy: Remind everybody to be polite to each other and especially remind the actors that this time
is to get the technical aspects of the play running smoothly with their action. Tech week is hard on
everybody, and having a bad attitude only makes it worse.
o Silence: Sound carries, usually in inverse proportion to how much you want it to. So, everybody in
the wings should remain silent unless they need to speak to an ASM about something important. Not
chatting quietly. Not whispering. Silent.
o Obedience: Once we get to opening night, the show is the stage manager’s and any requests that they
make are to be followed quickly and politely. The same applies to any requests made by the assistant
stage managers, and their word should be assumed to come from the stage manager.
o Wandering: Do not do it. Nobody should be leaving the stage unless they have spoken to stage
management and been given permission to do so. Note: permission will almost always be given for
such things as bathroom breaks or drinks of water, but probably not for actors to go have a cigarette.
o Sign-in: Every actor and technician is to sign him or herself (and only him or herself) in every day
that they come to rehearsal for tech week and all during the run of the production. If they do not sign
in, they are not present and will be treated accordingly. And remember, the stage manager’s watch
determines “on time”. It is their responsibility to make sure that they are present on time.
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- Running: Most technical rehearsals are run as follows…
o …the play is run from top to bottom as in a normal run-through, only with you calling cues
o …if a cue is messed up or needs to be fixed, you should call out, “Hold, Please” or “Stop, Please”
o …then, that cue is done again and again until it is gotten right.
o …if you come to a particularly difficult scene shift involving a number of actors or technicians seeing
it for the first time, you should stop the show and walk through it under full lights once so that
everybody can see what is going to happen
o …if there is a section of the play that contains no cues and only dialogue, it may be for the best to skip
it in its entirely. In such a case, simply call a hold and then give the actors the next line they should
pick up with, preferably a few lines before the next cue
- Cue To Cue: An alternate method of running the rehearsal is go from one cue to the next to the next. This can be
done with or without actors (usually with) and neatly cuts out any long monologues or otherwise nontechnical portions of the show. This method may not be feasible for certain shows, such as those with lots of
musical underscoring or where timing is essential.
- Adjustments: Be prepared to make adjustments from rehearsal to rehearsal, based on notes form the director and
designers. You are, after all, here to support and maintain their art.
- Production Meeting: After each technical rehearsal there should be a short, largely informal meeting among the
director, designers, stage management, and department heads. This should discuss any issues that took place
during the rehearsal and ensure that they will be addressed for the next rehearsal.
Dress Rehearsals
- Time / Date: The technical rehearsals have been traditionally held on the following days and times:
o 1st Dress A: 2:00pm Sunday – 12:00pm Crew – 12:30pm Cast
o 1st Dress B: 6:00pm Sunday – 5:00pm Crew – 5:15pm Cast
o 2nd Dress: 8:00pm Monday – 6:30pn Crew – 7:00pm Cast
o 3rd Dress: 8:00pm Tuesday – 6:30pn Crew – 7:00pm Cast
- Break: There is a one-hour meal break between rehearsals for the actors and technicians. Ensure that this is
adhered to, as everybody has the right to eat and maintain his or her strength.
- Double Rehearsal: Two rehearsals are scheduled on the same day in the event that they are both needed. Often,
such is not the case, but it is easier to let people go early than to hold them longer than you said you would.
Consult with the designers and director as to whether or not a second rehearsal is needed. Ultimately,
however, it is your decision, as you must be certain that the show will run smoothly.
- Attendance: All running crew members and actors are expected to arrive at their designated call times for the
rehearsal. Any who are late should be called immediately by stage management.
- Costumes: The dress rehearsals are where costumes, makeup, and quick changes are added to the technical mix.
Do your best to work with the wardrobe supervisor and costume designer to get everything settled and
running smoothly.
- Costume Parade: You will need to speak with the costume designer and director as to whether or not they wish to
have a costume parade. If they do, it is typically a very simple affair wherein the cast comes and stands on
stage in their costumes under the appropriate lighting.
- Calls: Beginning with the first dress rehearsal, you are responsible for ensuring that calls are made to the cast and
crew concerning how much time remains until the show begins. These should be made off of your watch and
be made by a competent and trustworthy individual. All rounds for calls should be started three minutes
before the time of the call (thus, the 10 minute ‘til call actually begins at 13 ‘til) to allow for traveling time
throughout the theatre. All calls are to be suffixed by “please” and everybody who hears the call should reply
with “Thank you, (repeat the call)”. Example: “10 ‘til places, please.” “Thank you, ten.”
o Preshow: Make the following calls: 30 'til house, 20 'til house, 10 'til house, house open and 30 'til
places (one call), 20 'til places, 10 'til places, 5 'til places, and places (which is said at 2 ‘til places).
o Intermission: Make the following calls: 5 ‘til places and places (which is said at 2 ‘til places)
- Running: Most dress rehearsals are run as follows…
o …the play is run from top to bottom as in a normal run-through, with you calling cues and with the
actors in costumes
o …when the action gets to a quick change, it is attempted and, if horrendously unsuccessful, attempted
again and again until it happens properly. You should expect long delays during the first run-through,
especially if there are multiple tricky quick changes to work out
o …if at all possible, you should attempt to keep the action running non-stop. This is especially true of
dress rehearsals 2 and 3, which should be run under show conditions
- Adjustments: Be prepared to make adjustments from rehearsal to rehearsal, based on notes form the director and
designers. You are, after all, here to support and maintain their art.
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- Production Meeting: After each dress rehearsal there should be a short, largely informal meeting among the
director, designers, stage management, and department heads. This should discuss any issues that took place
during the rehearsal and ensure that they will be addressed for the next rehearsal.
Calling
- Style: Every stage manager will have their own style for calling cues. Listed herein, however, are a few basic
guidelines and some suggestions.
- Clarity: Remember to speak clearly and to have distinct titles for everybody you are cuing. Do not, for example,
have “Light” and “Loft” cues. Pick a different name for one of them in order to minimize confusion.’
- Go: All running crew members should take their cues on the word “go”. If you have to say this word at any other
time, such as during a talk-through, say “gee oh”. Reserve the actual word for the calling of cues.
- Department Names: When at all possible, try to use the names of the various running crew departments in your
calling, such as “Lights”, “Sound”, “Fly”, etc. These will help to alleviate confusion, especially if you have
trained your crew to listen not only for the “go”, but also for the preceding department name.
- Talk-through: If you are coming up to a difficult cue sequence and have the time, you should talk your crew
through the sequence, giving them ample warning of what will be happening. This is especially important
when your cues will come in quick succession.
o Simple Example: “Standby Light 40, Sound 1. Light 40… Go. Sound 1… Go.”
o Complicated Example: “Alright, folks, on my first G-O, we are going to take Light 50, Sound 2, and
Pyro 1. On my second G-O, we will take Light 60 and Sound 3. Standby Light 50, 60, Sound 2, 3, and
Pyro 1. Light, Sound, Pyro… Go. Light, Sound… Go.”
- Warnings / Standbys: A warning is typically given a page ahead of the cue in question and is intended to alert
running crew who may be watching the show and allow them to get into position, especially useful when
dealing with spotlight operators. A standby, on the other hand, is a more immediate notice that a cue is
approaching. Coming anywhere from a few lines to a paragraph or two ahead of the cue, a standby tells the
running crew what cues that will be going into and gets them “standing by” to take that cue at an instant’s
notice. Example: “Stand by Lights 120, 130, Sound 5, and Slide 3”
- Response: After every standby, your running crew is to respond with the name of their department and in the order
that the standbys were given. For the above example, the light board operator would reply, “Lights”, then the
sound board operator would reply “Sound”, and, finally, the projectionist would reply, “Slide”.
- Headset Chatter: Keep this to a minimum, especially during and around cue sequences. In fact, when you call a
warning, conversations should wrap up or pause, and a standby should halt all conversations beyond those
strictly necessary for the cue sequence. It is inevitable, however, that people will talk during long, quiet
portions of the show. You should try to remain out of these conversations, however, as you are responsible
for the safe running of the show and need to keep an eye on the action.
- Faulty Headset: All headsets will be tested prior to the house opening, and the sound board operator will work to
fix any faulty headsets that are discovered. Should a headset microphone or talk button fail during the
running of a show (the most common failure), tell the stage manager at the earliest opportunity and, in the
meanwhile, use the signal button located on your headset pack to give yes and no responses.
o One “long” is No
o Three “short” is Yes.
- Emergency Contact: If somebody needs to get a hold of you during a standby, they should say your name and
then wait for you to say, “Hold” or “Go on”. Sometimes, even in a standby, there is enough time to quickly
deal with a question from an assistant or a comment from a board operator. Your crew should be trained to
keep their comments short and to the point, though, so as not to waste time with unneeded words.
Disasters (Also see page 14.)
- They Will Happen: Just accept this fact from the beginning and you will be a lot better off. Just be glad that they
are happening now and not during the performances.
- Calm: Most important of all is to remain calm. If a major disaster is happening, then you need to be able to act
quickly and without fear or hesitation.
- Safety: Your first priority is the safety of every person in the building. If a disaster strikes, you are to get
everybody out of the building as quickly and as safely as humanly possible.
- Warning: It is very rare that a disaster will occur without any warning signs at all. At least, not if you are thinking
of all the possibilities. A platform will give signs of wear and stress before breaking, as will a fly rail system,
and even open flame on stage suddenly spreading should not be an unforeseen circumstance.
- Prevention: And that brings us to the most important weapon in your arsenal against unpleasantness. They say that
an ounce of prevention is worth a pound of cure and ‘they’ could not be more correct. If you or anybody else
can see any way to plan for a possible emergency, then do so. Double-check to ensure that there are fire
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extinguishers present and that individuals have been trained in their use. Make sure that first-aid kits are well
stocked and ready to save lives at a moment’s notice. Anything that you can do to make the performance a
safer one is time well spent.
Prompt Script
- Complete: Ensure that your prompt script is complete and that is contains all of the latest cue adjustments.
- Neatness: Take your time and be extra-neat with your lettering. Remember, if you suddenly have a heart attack,
somebody will need to be able to call the show from your book.
- Emergency Procedures: You should have all emergency procedures and speeches already typed up, in your book,
and ready to go. When a fire does break out, you have more important things to worry about than your exact
wording to clear the audience out of the theatre. Write it down ahead of time and save yourself a lot of
frantic worrying at the last minute. SEE Disasters, p. 13-14.
- Forms: Your prompt script should contain any and all forms that you might need, including performance and
accident report forms.
Performance
Daily
- Performance Report: A performance report should be sent out to every actor and member of the production team
every night via Email. Every report should contain the following…
o …the date and running times of the performance
o …who attended (with note of who was late or absent and if such was excused)
o …the house manager’s report
o …any problems encountered or repairs (that are needed or that have been done)
o …any accidents or injuries to cast, crew, or audience (details are your friend)
o …any additional notes
o …the upcoming schedule for the next few days
o …your contact information
- Check-in: Do not simply assume that just because you put a problem in the performance report, it will be fixed.
Check in early the following day to ensure that the problem is taken care of and that the production is ready
for the next performance.
- Checklist: Create a checklist that contains everything that must be done before, during, and after the performance.
Follow this checklist daily to ensure that nothing is forgotten in the rush of things. Please note that this
contract does not contain such a detailed, point-by-point list. You are responsible for constructing your own.
Preshow
- Sign-in Sheet: At the crew and cast call times, check the sign-in sheet and call anybody who is not present on
time.
- Set Properties: The running crew should set the props for the top of show and the actors should check their props
as soon as they get the chance.
- Preshow Checks: The light and sound board operators should perform their checks as soon as they arrive, testing
dimmers, sound equipment, spotlights, and headsets for functionality. It would not hurt to incorporate these
checks into your own checklist and to have a physical list posted somewhere that everybody has access to.
- Maintenance: Ensure that any last-minute maintenance needed is performed quickly. Example: A burnt-out lamp.
- Clean Stage: There should be a clean stage for the actors to work on. This means sweeping the stage every night
and mopping it at least every other night, as well as cleaning up any trash left onstage or backstage.
- Walkabout: A walkabout must be done every night, with an individual physically walking everywhere that actors
do, looking over every set piece, and generally checking for safety hazards and potential problems. This
must be done by stage management, preferably you.
- Blackout: As part of the preshow check, you should have the light board operator take the house and stage to black
so that you can check for light leaks.
- Opening House: The house manager should check in with you before opening the house, to ensure that you are
ready for the audience to come in. Once the house is open, though, all work backstage must be done silently,
and nobody is allowed out on stage.
Intermission
- House Management: Keep in close contact with house management to be certain that you both know how
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intermission is going and when it is expected to end.
- Do Not Wander: Even though it is intermission, you should not be wandering away from the booth, nor should
your assistants be wandering away from their positions without good cause. It would be a terrible misfortune
for somebody to get injured during intermission and you not being there to deal with the situation because
you were out having a smoke.
Post-show
- Actors and Costumes: When the show and curtain call are complete, actors are to go and get out of their costumes
before mingling with the audience. The one and only exception is on the night of Photo Call, when actors are
not to change their costumes until told otherwise.
- Reset Show: At the end of the show, after the audience has filed out of the auditorium, give your assistants
permission to go out on stage and reset the show. Props, furniture, and set pieces should all be returned to
their positions for the top of the show. A little bit of work now, when you are all still in “show mode” will
save you a lot of trouble the following evening.
- House Manager’s Report: The house manager should come and find you before they leave with a ticket report
telling how many tickets were sold and of what type.
- First In, Last Out: Just as you are the first person in the building each night, you should be one of the last to
leave. Inevitably, the wardrobe crew will be there after you, as they have far more post-show duties than you
and your running crew, but they should be the only exception.
- Turn Off Lights: As you leave, turn off all unnecessary lights, such as the work lights on stage, shop lights, and
hall lights.
- Lock Up: Go around and double-check that the front doors have been pulled shut, the sound closet is locked, the
costume shop is shut (if the wardrobe crew has already left), and the shop is locked. It is your responsibility
to ensure that all doors leading to theatre property are secured before you leave.
Photo Call
- Time / Date: Traditionally, photo call takes place on the Thursday following opening night, immediately after the
performance.
- Purpose: Photo call is intended to give the director, designers, actors, publicist, and other professionals a chance to
take pictures for archives, portfolios, and publicity. Anybody is permitted to take pictures during the call.
There is a Photo Call Procedure document in the secretary’s orange Tech folder.
- Photo List: You are responsible for compiling a photo call list by speaking to the director, designers, and publicist,
and through your own knowledge of the production. This list should encompass as many of the “must have”
shots as humanly possible, as well as catch the highlights of the production: the climaxes, as it were. Bear in
mind that this list may very well be tentative, and that photos may be altered and “cheated” to achieve a
better look.
- Announcement: The date and time of photo call should be announced in the rehearsal reports in the weeks leading
up to it. On the night of, however, the photo call list is to be posted in all dressing rooms and backstage,
giving actors a chance to see what pictures will be taken and to prepare themselves for them.
- Additions: Inevitably, somebody will want a picture that you have not taken into account. If it is a completely
unreasonable request, feel free to politely decline it. If it is within the bounds of reason, however, do
whatever you can to fulfill it and make the asker happy.
- Smooth And Quick: That is how you want your photo call to go down. Keep everybody well apprised of what is
coming up next and keep the scenes coming one right after the other. Your running crew should be on their
toes and ready to set up for the next photo as soon as one is complete. The sooner it ends, the sooner you can
all go home and sleep.
Disasters
- Occurrence: Major disasters are very improbable. Improbable, however, does not mean impossible, so plan
accordingly. What follows is a brief description of what should happen in a few, choice emergencies.
- Faculty Presence: There will be a member of the faculty or staff present for each and every performance.
Typically the technical theatre professor or facility manager, they will know the building and what to do in
the event of a real emergency. Thus, you should speak to them ahead of time to determine what you should
be doing in such situations, but understand that they have the power to solve problems that you cannot.
- Fire: Fire is bad, but panic is worse. Never, ever mention the word “fire”. It does not matter if the audience can
look and see for themselves that half the set is burning down, it is always a “problem”. Immediately get on
the god microphone and get the audience out of the theatre. As the fire speech is being given, the stage lights
should be brought down while the house and work lights are brought up. House management, upon hearing
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this message, should be opening doors for the audience to get out and ensuring that nobody is trampled. A
very small fire may be put out with a fire extinguisher. Anything more than two yards is considered a large
fire, however, and should only be dealt with by professionals. If the fire is large enough to be considered
‘large’, an assistant should be calling the fire department. If it is both large and on stage, another assistant
should cut the rope on stage left to bring in the fire curtain and confine the fire to the stage. No doors should
be left open when evacuating the building and all heads should be counted and reported to the stage manager
as being out.
o Fire Speech: “Ladies and gentlemen, we have a problem backstage. We do not think that it is serious,
but for your safety and our piece of mind, we would like to clear the theatre at this time. Staff
members will be at the exits to assist you and we will resume the performance as soon as we can.
Thank you.”
- Medical Emergency: When an actor or crew member is injured, you must do your best to balance the needs of the
production against the needs of the individual. If the injury is to a member of the running crew or an actor
while off-stage, the performance may be able to continue. The injured person could potentially be bandaged
up and continue their job, or sent off to the emergency room while somebody else takes their place. Running
sheets are invaluable in such an instance. If the injury is major, to a major member of the production, or in
the middle of the individual doing something important (such as acting or flying in a drop), then the show
should be stopped, house and work lights brought up. If necessary, 911 should be called, and first aid given.
The performance may still be able to go on with just a minor adjustment or two, but it is just as likely that
the performance will have to be cancelled for that evening.
o Medical Emergency Speech: “Ladies and gentlemen, we have a problem backstage. If there is a
doctor in the house, could you please report to the lobby immediately? We are going to pause for just
a few minutes. Please remain in your seats and we will resume the performance as soon as possible.
Thank you.”
- Power Outage: Hopefully this never happens to you and, if it does, hopefully it is only the stage lights that go
down. In such a case, bring up work and house lights and continue the performance like that. If the entire
building’s power goes down, you will need to stop the show immediately and keep the audience in their
seats until the difficulty can be sorted out. A member of the faculty or staff should quickly check the
building’s main circuit breakers to determine if the problem is specific to the building or if it is a campuswide difficulty. Oftentimes, even if it is a widespread blackout, the power company will get the electricity up
and running in just a short amount of time. You might wait a reasonable span of time (five to ten minutes)
before declaring the performance to be closed and send the audience home.
o Power Outage Speech: “Ladies and gentlemen, we have a problem backstage. We are going to pause
for just a few minutes while we work it out. Please remain in your seats and we will resume the
performance as soon as possible. Thank you.”
- Anything Else: In reality, just about anything could happen during a performance, and you have to be prepared for
all of it. It is recommended that you rehearse worst-case scenarios with your assistants and ensure that they
all have copies of at least this generic disaster speech:
o General Emergency Speech: “Ladies and gentlemen, we have a problem backstage. We are going to
pause for just a few minutes while we work it out. Please remain in your seats and we will resume the
performance as soon as possible. Thank you.”
Post-Production
Strike
- Time / Date: Strike immediately follows the final performance of a production, usually the Sunday Matinee, but
extended runs may end up having a weekday strike.
- Purpose: Strike is designed to completely clear the stage of the production, freeing it up for the next event to come
in. Occasionally, this can be as soon as the very next morning, so it is imperative that everybody shows up
for strike. Otherwise, you will end up with a few very dedicated individuals working until five in the
morning taking down a set that took five weeks to construct.
- Attendance: All theatre majors and everybody who took part in the production are required to attend strike. It is
part of their performance/production credit and, as such, you are responsible for ensuring that they are there.
- Sign In/Out Sheet: Construct a sign in/out sheet for strike containing the names of all theatre majors and
everybody who worked on the production. Sign them in as they come in and out when they are given
permission to leave. Type up this list (or not, if your handwriting is legible enough) and turn it in to the
technical theatre professor within a few days of strike.
- Procedure: When the final performance ends, all actors are to get out of costume and come sit in the audience. All
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running crew members are to clean up their areas, take care of post-show duties, and then also come to sit in
the audience. The technical director will pick certain students to head up strike crews and those students will,
in turn, pick the members of their crew. Thus, strike begins. As students run out of things to do, they are to
return to the audience and sit down until pulled for another crew. Strike can be a very long and tedious
process, but here at Longwood, we strive for making it a very short, very safe, and very hectic event.
- Call Board: It is your responsibility to clean up the call board at the end of strike. Take down all of your
information to make space for the next stage manager to put up their flyers and paperwork.
Policies
- Purchases: All purchases at Longwood must be put on a university-issued MasterCard, for which the faculty
scenic designer, costume designer, and technical director are solely responsible.
- Shop Rules: Scene Shop Rules are to be followed at all times. No exceptions.
- Food in the Theatre: There is to be no food or drink (except water in closed bottles) in Jarman Auditorium, 026,
or the Studio Theatre. If you need to have food with you, please confine it to the hallways.
- Combinations: If you are given the combination to any of the locks in Jarman, you are expected to maintain its
confidentiality. Whenever you unlock a padlock in Jarman, always reset the dials to all zeros to keep the
combination secret.
- Keys: As stage manager, you will have possession of the stage management keys. These unlock the back door, the
secretary’s office, all classrooms, and the scene shop. They are, under no circumstances, to be given to any
individual who is not on the stage management staff. The keys may be picked up from, and must be returned
to, the department secretary.
- Medicine: Your stage manager’s kit should contain medicine that actors might need. Remember, however, that
you are not a doctor, pharmacist, or any other sort of medical professional. It is not your job or place to
suggest treatment for an ailment. You are merely a walking, talking medicine cabinet. If an actor asks for
medicine that you have, let them have it. You are, however, expected to use common sense and not provide
an actor with the means to overdose on cold pills.
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Assistant Stage Manager
(You should also receive, but not sign, a Running Crew Contract)
Responsibilities
Daily
- Training: Above all else, you are training to become a stage manager. To that effect, it is your sole responsibility
to support your stage manager. It is impossible to get ahead in this field without first understanding the
degree to which we all rely on others. If you make your stage manager look good, they will return the favor
and, when you become a stage manager, it will help you appreciate your own assistants.
- Professional Attitude: You are training to become a professional, so please act the part. This includes respecting
all persons in the theatre and cooperating with the director, stage manager, designers, and other individuals.
- Communication: Read the call board and check your Email daily. Respond to all crew call messages or email with
either an acknowledgment or a reason why you might not show up on time. Do not expect to show up late
with an excuse like, “Well, my class runs until 2.15, so I couldn’t make the 2.00 crew call…” You should
have already told the sound engineer this when they gave you the date and time of the crew call.
- Punctuality: It is a custom of the theatre and of this department that one never misses a rehearsal, performance, or
crew assignment. The stage manager will set your crew calls. Plan to arrive (and actually arrive) 5-15
minutes before your scheduled call. Disasters will happen, so plan for them.
- Courtesy and Composure: While house management may deal with more ‘outside’ individuals than any other
department, stage management deals with more people and departments in the theatre than anybody else. For
this reason, it is paramount that you maintain a pleasant working attitude at all times. You are not required to
smile every second of the day, but you are expected to sufficiently control your own attitude and difficulties
so as not to inconvenience others. Above all else, you should never, ever yell or become belligerent at
another member of the production for any reason whatsoever.
- Listen: Be a good listener and keep your ear to the ground for any potential problems. Sometimes, all somebody
needs is a sounding board to work out their difficulties, and other times, a disgruntled individual will
complain about perceived injustices soon enough for you to keep them from impacting the production.
Often, you may hear things that the stage manager does not. You are expected to pass such information
along. An uninformed stage manager is a poor stage manager.
- Responsibility: You, as an assistant stage manager, are expected to take responsibility for your actions and
inactions. Understand that the stage manager will likely accept any and all public blame for your faults, but
you should then speak to them in private concerning your actions. If you are taken to task about an issue,
nod, accept any criticism, and ensure that it does not happen again. Remember, it is all about the job. It is
never personal.
- Confidentiality: You may, in the course of the production, be privileged to have information about the director, an
actor, or something going on behind the scenes. Keep it to yourself. It is not your secret to tell and, thus, you
should not speak a word of it to anybody.
- Safety: You should know what to do if somebody is injured during any part of the production process. From
audition to strike, you are expected to react quickly and properly in the event of any emergency.
- Think Ahead: If you are thinking about rehearsal tonight, or even tomorrow evening, then you are thinking too
slowly. You should be aware of events happening weeks in the future and of possibilities that could strike at
any moment. Expect a fire momentarily. Is there a fire extinguisher nearby? Is there a phone nearby to call
the fire department? Can you safely get everybody out of the building? Always expect the unexpected. You
will help your stage manager immensely by being there with a fire extinguisher the moment that the room
suddenly and unexpectedly bursts into flame.
- Paperwork: Your paperwork should be kept up-to-date at all times, and you should always have easy access to
previous versions. All versions should also be dated and have the author’s initials on them somewhere. This
lets you quickly figure out which version is the latest and also who composed it, in the event that you need to
speak with them. Lastly, when handing out paperwork, it is not a bad idea to write the recipient’s name on
the paper. This way, if you have any left over after a meeting, you know exactly who is missing what.
- Duties: The assistant stage manager exists to assist the stage manager. The stage manager will determine your
duties and they may vary wildly from production to production. Meet with your stage manager early on to
determine exactly what you will be doing for this production and, in general, what they expect of you.
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Position:
Stage Management
Please Circle One:
Stage Manager
Assistant Stage Manager
THEA 103 – Production Credit Form
ALL Students participating in a show must fill out this form. A separate form must be used for each position
held. Please indicate your choice below with an "X" and fill out all necessary fields. When complete, please
remove this page from your contract and turn it in to the stage manager.
Name: _____________________________________________________________
CWID #: _____________________________________________________________
Phone #: _____________________________________________________________
Email: _____________________________________________________________
Production: _____________________________________________________________
I am currently enrolled in a technical theatre class (Ex: Technical Theatre, Lighting Design, Stage
Properties, etc.) and cannot receive a play production credit.
Class:
I want a play production credit.* I understand that this is a graded credit not associated with
another class.
I do not want a play production credit.
* This credit will cost $_____ if it increases your total registered credit hours to more than 18.
By signing this form, I assert that I have not only read and understand the above contract, but also
that I agree to follow and abide by it. I also understand that I will be held accountable for my
actions and that my credit may be denied in the case of extreme misconduct.
Signature:
Date:
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Rehearsal Report (Technical)
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Rehearsal Report (Actor)
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Rehearsal Report (Actor)
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Rehearsal Report (Technical)
The Wizard of Oz
Date: Tuesday, March 25, 2008
Rehearsal Number: 7
Stage Management:
-print out more line notes sheets.
-re-post rehearsal schedule on callboard.
Start: 9:30am
Break: 10:50am – 11:00am
Stop: 12:30pm
Today We:
-blocked all of Act II.
-had a line through of Act I.
Scenery:
-will the ship unit be on straight or swivel
castors?
Lights
Costumes:
-Fitting Times:
Thursday, March 26th
Joe: 1:30pm
Patrick: 2:00pm
Diane: 2:30pm
Publicity:
-I left the actors bios in your box, did you
get them? Anything else you need?
Line Changes/Typos:
-will there be a light on Jamie for her
curtain speech? Will this be a spot cue?
-Page 10, Harold Hill: “How to do, Mrs.
Paroo” should be “Good morning, Edna.”
-Page 11, Officer Krupke: “Alright you
hoolihans!” should read “Alright you
hooligans!”
Properties:
-the new rehearsal props worked
wonderfully, thank you.
Rehearsal Schedule:
Wednesday, March 25th, Jarman 026
Act I: Scenes 2, 3, 4, 5 - 6:30pm
Thursday, March 26th, Jarman 026
Act I: Scenes 6, 7, 8, 9 – 6:30pm
Sound:
-thank you for the rehearsal SFX, I
appreciate it. When will we be getting the
new rain track?
Friday, March 27th, Jarman Blackbox
Act II: All Scenes – 6:30pm
Questions, Comments, Concerns?
Kate Wackerle – Stage Manager
(240)315-6795, kcwackerle@gmail.com
Rehearsal Report (Actor)
The Wizard of Oz
Date: Tuesday, March 25, 2008
Rehearsal Number: 7
Start: 9:30am
Break: 10:50am – 11:00am
Stop: 12:30pm
Today We:
-blocked all of Act II.
-had a line through of Act I.
Rehearsal Notes:
-Please note the rehearsal schedule changes
below.
-At tomorrow night’s rehearsal, there will be a
couple of guests: Mr. Lance Freeman (the
lighting designer) and Ms. Claire Prestons (the
scenic designer). They will be there simply to
get a feel for the show (technically).
-The properties box will be relocated tomorrow.
There will be a prop table set up “stage right”
of the rehearsal space. Please check your props
before rehearsal and make sure they are there.
Fittings:
Thursday, March 26th
Joe: 1:30pm
Patrick: 2:00pm
Diane: 2:30pm
Rehearsal Schedule:
Wednesday, March 25th, Jarman 026
Act I: Scenes 2, 3, 4, 5 - 6:30pm
Thursday, March 26th, Jarman 026
Act I: Scenes 6, 7, 8, 9 – 6:30pm
Friday, March 27th, Jarman Blackbox
Act II: All Scenes – 6:30pm
Line Changes/Typos:
-Page 10, Harold Hill: “How to do, Mrs.
Paroo” should be “Good morning, Edna.”
Saturday, March 28th
REHEARSAL CANCELLED
-Page 11, Officer Krupke: “Alright you
hoolihans!” should read “Alright you
hooligans!”
Questions, Comments, Concerns?
Kate Wackerle – Stage Manager
(240)315-6795, kcwackerle@gmail.com
Prompt Script Photo Enlarged
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