Hart House Theatre - Stage Management Workshop
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Main functions
 Responsible Adult – you set the example for your company. Sometimes you have to keep
your company in line or deal with personnel problems with grace and tact.
 Time keeper – issues detailed schedules and ensures that the works stays on task.
 Record keeper – track information relevant to the shows operation. You need to be aware
and clear on what is required for the show to run smoothly.
 Communicator – centre of information. Not only do you need to ensure clear and concise
information within your company, but you are the theatre’s contact during the run of the
show. You need to facilitate the right information getting to the correct person.
 Problem Solver – things can and will go wrong. You need to remain level headed and tackle
each challenge as it arises.
 Facilitator – you keep track of information; make sure everyone is informed to ensure a
smooth transition of the show from the rehearsal hall to the stage.
 Enforcer – you don’t make any of the decisions but you enforce them all. Anything and
everything from the venue’s rules to a direction given to an actor by the director.
 Consistency / Flow person – make sure the show runs the same every night. You cue the
technicians and keeps a close eye out for anything out of the ordinary during the
performance.
 Safety Cop – you need to ensure that all work spaces (rehearsals halls, the set and the
backstage area) are safe for the company. This includes cleaning floors, facilitating fight and
dance calls before every performance and taping hazards in white & glow tape to mark out
any obstacles they may encounter during the run of the show.
Things to think about long before load-in
 Placement of all technical cues – sound, lighting, video and anything that needs to be cued
from backstage (entrances, moving set pieces, etc)
 How big is the cast? How many men / women?
 Do you know need props tables backstage? How many and where?
 Are there costume changes during the show? How quick are they? Will they happen
backstage or in the dressing room?
 Are there enough people working backstage to support what needs to be done?
 What set pieces need to be spiked onstage? What colour tape? Does it move in the dark?
Is glow tape needed?
 Are any spikes required for the performers? What colour tape? Do they set in the dark? Is
glow tape needed?
 Does anyone in your company (on or offstage) have any allergies or medical conditions your
company and the theatre should be aware of? (this can effect various departments, for
example: are there any food props in the show? Is food colouring being used? Are you
using strobe lights? (which can cause epileptic seizures), etc…)
 Does the theatre have any specific rules or information that my company should we aware
of?
Paperwork Produced by Stage Managers
 There are many different ways to set up paperwork. Some companies have templates they
prefer you to use. Below are some standard examples if you are starting from scratch!
Hart House Theatre - Stage Management Workshop

First Name
Jack
Jane
John
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Contact Lists – emails and phones numbers for everyone involved in the production. For
the performers please list what character they are playing. If the company is larger, you
may want to divide the contact list between production staff and cast to make it a quick
reference for everyone. Typically they are listed in alphabetical order.
Last Name
Doe
Doe
Doe
Role
Director
Performer
Performer
Phone Number
555-555-5555
555-555-5555*
555-555-5555
Email
jackdoe@jackdoe.com
janedoe@janedoe.com
johndoe@johndoe.com
Notes
*Text only no calls

Schedules – daily, weekly and monthly activities for the production. See the scheduling
notes below for examples.

Props List – a list of every item used in the show. If there are performers with the same
character names, like “poor” or “goon”, please note which actor is using the props.
Props List
Robin Hood: The Legendary Musical Comedy
Hart House Theatre
STATUS: P=Paper Props, RP=Running Props, S=Show Prop, Complete, ONS=preset onstage, N=Need,
I=Show Prop Incomplete, R = Rehearsal Prop, W = From Wardrobe, TBC=To Be Confirmed, F = Weapon
ACT I
PAGE
1
1
1
1
1
1
1
8
13
19
18
21
21
PROP
Blankets x 4
Baskets x 2
Turnip
Pottage of meat
Carrot
Dandelion
Apple Core
Tax bag
Quarter-staff
Sword x13
Water Bottle
River Fabric
Fish Puppets x 2
CHARACTER
Poor (Actor Names)
Poor (Actor Names)
Poor (Actor Names)
Poor (Actor Names)
Poor (Actor Names)
Poor (Actor Name)
Poor (Actor Name)
Sheriff
Little John
Goons, Robin
Goon (Actor Name)
Goons
Goons
21
21
21
21
Bucket
Quarter-Staff
Quarter-staff
Robin’s Sword
Little John
Little John
Robin
Robin
21
25
26
26
26
33
36
Coin Purse
Coin Purse
Machetes x 2
Bows, Quivers x 6
Arrows (# TBC)
Collection basket
Knife
Little John
Will
Will
Merry Men
Merry Men
Friar Tuck
Sheriff
NOTES
Used for to cover bodies (like shawl)
Fake, Limp
Will be put in Sheriff’s tights
All used in fights
Empty. Used to make sound effect
“River" operated by Goonettes
In the river of fabric, will go into
bucket
Will be filled with fish puppets
SAME AS ABOVE
STATUS
R
S
N
N
N
N
N
N
I, F
S, F
N, RP
N
N
N
I, F
SAME AS ABOVE (golden/brass
handle - horizontal quillons buttons
on ends)
Not Fired
On Stick
N
N
S. F
R
R
N
N, F
Hart House Theatre - Stage Management Workshop
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TWELFTH NIGHT - PROPS LIST
PG.
ITEM
CHARACTER
NOTES
misc.
Glasses
n/a
used throughout
misc.
Bottles
n/a
misc.
Set of taps
n/a
set dressing
misc.
Tap handles x4
n/a
set dressing; no branding
misc.
Instruments
various
10
Poem
Orsino
Find out how many copies needed
22
Ladies' ring
Malvolio
Gold or brass band; emerald or sapphire, gets thrown around
30
Wine bottle
Maria
Takes from bar; see above re: labels. Contents needed
34
Coins and pouch
Orsino
5 or 6
38
Letter
Maria
For Malvolio
44
Ropes
Malvolio
Tied around hands as cuffs
61
Swords x2
Viola and Andrew
fought with; needs case and detailing

Act
1
1
1
Scene
1
4
6
Page
3
6
20

used throughout; Raha brought, needs labels
Props Tracking Sheets – who, when and where it enters and exits. This will help you figure
out if you require doubles of any items or if you require crew backstage to move things from
location to another.
Time
02:30
10:45
27:14
Item
Newspaper
Red Purse
Red Purse
Enters with/from
Jerry from USR
Crystal from SR
Crystal from SL
Exits with/to
Jerry to DSL
Crystal to SR
Crystal to SL
Notes
Rolls it up onstage
Must move to SR for Scene 10
Used again in Act 2
Scene Change Paperwork – Going from one scene to the next, what do you need set up
onstage? What do you need removed from the stage? How will this happen?
Time
Page
From Scene to
Scene
08:00
5
Scene 1 into 2
Items onstage
Removed by
Couch
Table
3 chairs
2 crew members
2 cast members
3 cast members
Items to be set
onstage
Bed
Nightstand
Clock
Set onstage
by
Cast member
Cast member
Notes
In Blackout
In Blackout
Set on nightstand in
view of the audience
Hart House Theatre - Stage Management Workshop
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Rehearsal Notes – document sent to the production team after every rehearsal to
update them on the day’s work and if any requests or questions arose over the course
of the rehearsal.
(Insert show title)
Rehearsal Notes #(insert)
DATE:
Rehearsal Progress:
1.
Costumes:
1.
Lights:
1.
Props:
1.
Scenery:
1.
Music/Sound:
1.
Scheduling:
1.
Misc:
1.

Preset Checklists – where and how everything needs to be set for the top of each act
Twelfth Night
Preset List – Top of Show
ON STAGE
PROP/SET PIECE
Pen & Paper for Feste
Serving Tray
LOCATION
Bottom shelf, 3 shelves in
from SL
SL on Bar
Drying Mat w. Brown Ice
Bucket
To the Right of SR beer taps
Bar Rag
SR on Bar
2 Swords
On top of the bar shelfs
NOTES
The swords are at opposite
ends of the bar
Hart House Theatre - Stage Management Workshop
STAGE LEFT PROPS TABLE
Drying Mat w. Bucket
Oliva's Veil
Rope for Malvolio
Viola's Blue Suitcase
Antonio's Grey Leather bag
w. Black coin purse
Candle w. Holder
Cane Sword
Mandolin
Sir Andrew's Notepad & Pen
Maria's Letter for Malvolio
Malvolio's Lantern
Sir Andrew's Coin
Sir Toby's Coin
Sebastian's Coin
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STAGE RIGHT PROPS TABLE
Drying Mat w. Bucket
Orsino's Poem
Sir Andrew's
Challenge Letter
Osino's Coins (x3)
Viola's coins
Sir Andrew's Round
Suitcase
Feste's Brown
Overcoat w. Curly
Wig
Light Brown Acoustic
Guitar
Running Notes for various departments (Assistant Stage Managers, backstage crew, flys
and Wardrobe Dressers) – you are responsible for informing the crew what their duties are
in the form of paperwork.
Robin Hood: The Legendary Musical Comedy
BACKSTAGE NOTES
Hart House Theatre - Stage Management Workshop
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TWELFTH NIGHT
WARDROBE RUNNING NOTES
8pm – Top of Show – set backstage for the first costume change behind the set
2 min into show - First Viola Change from Woman to Man (2 min to complete the change)

PRESET NOTES – Red Blanket, Mustache, Spirit Gum, Brown Shoes, Black Socks, Blue Shirt, Brown
Sweater, Brown Suit Jacket, Brown Hat, Hair Elastic

COSTUME CHANGE NOTES – Receive suitcase, Unzip dress and undo belt, Hand to Darcy: Spirit Gum, Shirt,
Sweater, Socks, Shoes, Jacket, Mustache, Hair Elastic, Hat

CLEAR - Red Blanket, Shoes, Dress to the dressing room, Suitcase to the props table on SL and Spirit Gum
to the Table in the Backstage Hallway
During Act 1
 Keep watch to ensure everyone looks great in their costume
 Outside of that, read, relax or watch the show in the Greenroom
9:10pm – Intermission
9:25pm – Act 2 begins
During Act 2
 Keep watch to ensure everyone looks great in their costume
 Outside of that, read, relax or watch the show in the Greenroom
45 minutes into the Act (10:10pm) – set backstage for the second costume change DSR
1:07:00 min into Act 2 - Second Viola Change from Man to Woman (Last page of the script, 30 seconds to
complete change)

PRESET NOTES - Red Blanket, Adhesive Remover, Kleenex, White Shoes, Flower Print Dress with Belt

COSTUME CHANGE NOTES – Receive Jacket, Sweater, Shirt, Socks, Shoes, Pants, Hat, Hair Elastic, Hand to
Darcy: Dress, Spirit Gum Remover, White Shoes, Receive Mustache, Zip up dress and do up belt.

CLEAR - Red Blanket, Mustache, Brown Shoes, Black Socks, Blue Shirt, Brown Sweater, Brown Suit Jacket,
Brown Hat, Hair Elastic to dressing room and Adhesive Remover to the Table in the Backstage Hallway
10:40pm – End of Show
1.
2.
3.
4.
5.
Collect Laundry (actors to leave items on the floor). If not on the floor, assume they do not want the
items washed. Ensure all costume pieces are hung up nicely.
Wash / Dry items. See maintenance paperwork for details.
Spray items that cannot be laundered in sweat locations (arm pits, crotches, necks…)
Confirm your next shift with Stage Manager & let her know if you require any additional supplies
before the next call.
Once the laundry is in the drier / hanging to dry – you may leave.
Hart House Theatre - Stage Management Workshop
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Blocking Notes – this can be done in a separate script or in the same script as the cueing
script. The idea is to notate all entrances, exits and movements onstage.
Bone Cage
Hart House Theatre
Stage Manager: Mona Elayyan
Director: Matt White
Date: August 2013 – September 2013
Place: Hart House Theatre
As of: September 15, 2013
Page: 3
Blocking Notes
1
Top of Act I
1 . Birds of Paradise song reverberation:
Tableau. Actors stand in their positions.
JA sits on bridge
KR stands on stairs
RO sits on stump # 1
LI sits on stump # 2
CH sits on stump #10
KE stands under bridge USL
CL stands USC
Page: 3
Act I Sc I
L1: JA on bridge.
L1: Ch sitting on stump # 10
Props:
- Blue Jay
Wardrobe:
- JA: Checkered,
ripped jeans, brown
boots, white tank
top
Scene 1 Run time: 3.37 mins
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Hart House Theatre - Stage Management Workshop

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Cueing Script – also called Prompt Script or Calling Script. This script includes all the
technical cues for the show. It is the tool the Stage Managers uses to call the show. When a
script is provided, this information is typically hand written onto the script. Below are some
examples of notation of technical cues.
12/12/2013
Robin Hood: The Legendary Musical Comedy
Page 14
ACT I, SCENE 2 — LOCKSLEY MANOR
SHERIFF: Now announcing the entrance of His Royal Exaltedness, His Wonderfulness, Prince John
the Moderately Good! Trumpets!
PRINCE JOHN:
I thank thee for that, Archibald, most noble Sheriff of Nottingham.
SHERIFF: At your command, Milord.
PRINCE JOHN:
What has become of my fanfare? It is not nearly as impressive as t’once ’twas.
SHERIFF: You melted down the royal horn section for your bunk bed, sire.
PRINCE JOHN:
Ah yes, well, you do know how much I love to play fort.
SHERIFF: Yes—
PRINCE JOHN:
STBY: LX 57.5 SHERIFF:
PRINCE JOHN:
Where are my drums?
You planted your rosemary in them, sire.
So I did… Rosemary and unicorn are delicious!
SHERIFF: Yes, my dread lord, especially that last one!
PRINCE JOHN:
What about the Royal Trumpet?
SHERIFF: Doorknobs, sir.
PRINCE JOHN:
Lovely ones, too. Well, I need at least one royal trumpet.
SHERIFF: Yes! Perhaps with all this tax money we could go out and buy one.
● LX 57.5
PRINCE JOHN:Buy one? Do you even work for me?
I’m sorry, sire. When I said “buy one”, what I really meant was that we could
SHERIFF:
steal one… maliciously!
PRINCE JOHN:
Well, if you have any ideas, I’m all ears.
SHERIFF: The river of my imagination runs dry this morn.
PRINCE JOHN:
Yes, the stones of thought in my brain are covered in moss.
SHERIFF: Yes, my liege. I can see you’re not yourself this morning.
STBY: LX 58 PRINCE JOHN: You’re right! I am feeling a bit under the evil!
SHERIFF: Oh! Oh! I know what might help!
PRINCE JOHN:
Oh, do share!
SHERIFF: It should come as no surprise, my lord — we do it almost every morning.
PRINCE JOHN:
● LX 58
SHERIFF:
Evil Porridge?
We’ll have some evil porridge afterwards, but first… Goons! Song formation!
Hart House Theatre - Stage Management Workshop
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OR – if it’s a musical and you’re calling off the sheet music:
Robin Hood: The Legendary Musical Comedy
STBY: LX 16 - 25
● LX 16
● LX 19
● LX 20
● LX 17
● LX 21
● LX 22
Hart House Theatre - Stage Management Workshop
● LX 23
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● LX 24
● LX 25
● LX 24.5
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
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Show Reports - document sent to the production team after every show to update them on
the day’s performance, noting anything that occurred which was out of the ordinary (missed
lines or late cues), audience reactions, energy and pace notes and if any requests or issues
arose over the course of the show.
(Name of Theatre Company)
(Date)
(Name of Show)
SHOW REPORT
Stage Manager:
Performance #:
House Count:
Date:
Time:
Weather Conditions:
Start Time:
First Act:
Curtain Delayed by:
End Time:
Second Act:
Running Time:
Intermission:
Personnel Reporting Late:
Performance Notes:
Technical Notes:
Accidents/Injuries:
Notices Given/Received:
Front Of House Notes:
About Scheduling
Scheduling is the most difficult part of theatre. There is never enough time and always a conflict or two
to work around. Detailed schedules help to make the expectations and the pace of the day clear to
everyone involved. Although theatre is generally pressed for time, this doesn’t mean we should ignore
standard and safe work practices. Please make sure all breaks and meal breaks are listed clearly.
Hart House Theatre - Stage Management Workshop
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DAILY SCHEDULES
THE WEDDING SINGER
Daily Rehearsal Schedule - Sunday November 24th 2013
*SUBJECT TO CHANGE, BREAKS TBA*
Schedule for Wednesday December 5, 2012 / Cast called for 2pm
Time
What
2pm
Final Tech Notes Onstage / Line Run for Actors in Dressing Room
2:45pm
Prep for Run
3pm
Run Through
4:20pm
Break / Actors out of Costume
4:35pm
Notes from Run
5pm
Photo Call
6pm
Dinner
7pm
Preshow
8pm
Dress Rehearsal & Notes
11pm
End of Day
Notes
Photographer – Scott Gorman
Photo Call before the Dress
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WEEKLY SCHEDULES
Hart House Theatre 2010
Equus
Week of October 17-23
*Subject to change*
Sunday October 17, 2010
11:00am
*Off-Book Deadline*
Scene Work
Emily, Peter
1:00pm
ADD
Claire, Hilary, Jesse
2:00pm
Break
2:30pm
Run: Stumble Through of Show
With Ashleigh Powell in attendance
5:30pm
Break
6:00pm
Scene Work
8:00pm
End
Full Cast
Anh, Brandon, Carl, Claire, Jesse, John C.,
John F., Peter, Thomas, Sonia
Monday October 18, 2010
12:00pm
Scene Work
Jesse, Peter
Break as applicable
4:00pm
RELEASE
5:00pm
End
Peter
*Evening Rehearsal CANCELED
Tuesday October 19, 2010
6:30pm
10:30pm
Scene Work & Rehearsal TBA
TBA
End
Wednesday October 20, 2010
6:30pm
Scene Work
With Ashleigh Powell in attendance
8:00pm
ADD
Anh, Brandon, Carl, Daryl, Jesse, John C.,
John F., Sonia
Peter
Break as applicable
10:30pm
End
Thursday October 21, 2010
6:30pm
Run: Work Through of the Show
Full Cast
Break as applicable
10:30pm
End
Friday October 22, 2010-Saturday October 23, 2010
Free Days
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MONTHLY SCHEDULES
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General Rules for Breaks
Make sure you are clear on the labour policies of theatre you are performing in – what is their schedule
for breaks? Is it a unionized labour force? Are there limitations on what your company members can do
in the space? In general, for every 2 hours there should be a 15 minute break and after 4 hours
(maximum of 5) there must be a 1 hour meal break. Please note – that your time in the theatre includes
cleaning up at the end of the day, please allow a minimum of 15 minutes for this. If you go past the
scheduled end of day time, it will cost your company more money in the theatre rental costs and
technician crew costs.
For example:
8am – Lighting Hang begins
10am – Break
10:15am – Lighting Hang continues
12pm – Lunch
1pm – Lighting Hang Continues
3pm – Break
3:15pm – Lighting Focus begins
5pm – Dinner
6pm - Lighting Focus Continues
8pm – Break
8:15pm - Lighting Focus Continues
9:45pm – Clean up and pack up
10pm – End of Day
Things to consider when making a schedule
1. Who do you need? What time do you need them to arrive? Is there anyone absent?
2. Where is the location of the work taking place? Does the company know how to get there?
3. Is there anyone from the company or the theatre who needs to speak to the group before
work begins?
4. Are there any wardrobe measurements or fittings that need to be scheduled? Are costumes
being used? Do you need to allot time for performers to get in/out of costumes and
makeup?
5. Are there any guests coming in? Will there be videography or photography you need to
warn the company about?
6. What kind of work is taking place? Are there any supplies, tools or equipment required?
7. Is there any set up or clean up time required before or after the work takes place?
8. Check the production calendar for any events going on in the design / tech side of things
that may affect the rehearsal (Is there someone missing from rehearsal? Is there a set or
prop item unavailable that day?)
9. Check for any Holidays or special events.
10. Check for any transit or road closures that may affect your company’s ability to arrive on
time and warn them in advance.
Hart House Theatre - Stage Management Workshop
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Cueing (Headset Etiquette)
With the exception of live sound mixing of bands and microphones; typically every technical element in
a show is cued by the stage manager. This means each lighting change and sound cue. The stage
manager provides the operator with both a get ready warning (known as a standby) and a do it now cue
(known as the go). The idea is that as the stage manager says the word “go”, the “go” button is pressed
to operate the cue.
Example:
Stage Manager: Standby Lights 3 (or LX 3)
Lighting Operator: Standing By
Stage Manager: Lights 3 go (operator presses the button)
When cues are close together, stage managers may standby operators for multiple cues at once
(Standby Lights 3 through 6). This means the operator is in standby mode until the last cue in the
sequence has been called.
The headsets are the only form of communication between all the technical elements in a production.
They are the walkie talkies of theatre. Personal conversations should be kept at a minimum. Once the
stage manager calls a standby for a cue, it is expected that everyone on headset will be silent until the
cue has been called. Always ask the stage manager for permission to speak, as they know how long until
the next sequence of cues occurs.
Operating a Headset
TALK – lights up green when on. You can either press and hold to speak or double tap the button to
have it permanently on.
CALL - lights up red. This is the call waiting button of the headset. If the stage manager is calling cues
you don’t want to interrupt and disturb the flow of the show. This buttons allows you to let the stage
manager know you need to speak to them without interrupting.
Cueing Script
Also known as the calling script, the stage manager’s script should have the following notated:
Locations of entrances and exits
Notation of props and set pieces locations and tracking from scene to scene
Blocking (actors movements onstage)
Technical Cues (sound, lighting, video and anything that requires cueing from backstage)
Costume Changes (where do they exit? What are they changing from and into? Where do
they enter? How long do they have to complete the change?)
Timings of how long things take (scenes, acts)
Hart House Theatre - Stage Management Workshop
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Stage Manager’s Binder
Also known as “the prompt book”, it should contain the following information for archives:
a) Contact List
b) Casting List
c) Blocking Notes
d) Technical Cues (Cueing Script)
e) Lighting Plot and paperwork
f)
Sound Cue sheets
g) Wardrobe paperwork
h) Design sketch and ground plans
i)
Props List
j)
Running Crew paperwork
k) Rehearsal Notes
l)
Production Meeting Minutes
m) Performance Reports
During the Run
The Stage Manager:
 continues to issue the schedule
 coordinates with the Front of House Manager during the performances to organize the
following:
1. Handing over the house – letting the FOH Manager know when you’re ready for
the audience to be let in
2. Receiving the house – FOH Manager letting you know when they are ready for
each act to begin
3. House Count – how many people were in attendance
4. Any problems, concerns or compliments from the Audience
 ensures everyone shows up and that everything is ready to begin at Curtain
 calls all the Technical Cues
 gives notes to performers regarding line, blocking or delivery inconsistencies.
 issue Show Reports which notate how the show went, if there were any problems and how
they were dealt with and if anything is required before the next show