Illustrated Theatre Production Guide, 2nd Edition

186 Illustrated Theatre Production Guide 2 ed

In a school setting, where students serve as stage

manager, the role of stage manager (SM) is generally

more limited to organizing rehearsals and calling cues

for a show. Each theatre organization is somewhat dif-

ferent, and has its own rules. Equity stage managers

must follow the rules set down in the AEA contract with

their group. Equity has contracts with many different

organizations, but in each case the contract is published

as a booklet that contains all the work rules for that

venue. All unions have work rules, which are used to

define responsibilities, duties, rights, and privileges.

This chapter presents, in a roughly chronological

order, the way things happen, beginning with design

meetings, auditions, the rehearsal process, production

meetings, tech rehearsals, dress rehearsals, and finally

the running of the performances.

FIRST MEETING WITH THE DIRECTOR

At some point, you should have a first meeting with the

director. It is best to do this as early as possible so that

the two of you can discuss how to work together in

putting together the play. You should get some idea of

the director’s artistic view of the piece, and find out how

the director would like the process to develop. Some

directors like to shape the production organically, or in

a loose manner. Others are much more structured. Be

sure to ask questions about this particular director’s

process. Be honest with the director. If you don’t have

any experience in a particular area, let him or her know

so that he or she can help you learn.

DESIGN MEETINGS

Sometime early on, weeks or maybe months before

rehearsals begin, designers will start working with the

director to solidify the way the show will look and

sound. The role of the stage manager in these meetings

is to take notes of the ideas that are put forward and

to publish a record of the discussions. This will help

keep the director and the designers on track with one

another. A bit of efficiency on your part will greatly aid

the process. Be sure to disseminate the notes as quickly

as possible, as they are of little use days or weeks

later. Social networking sites can be an excellent

resource for that process, but be careful not to post

sensitive information in a place where the public at large

can find it.

AUDITIONS

There is a wide diversity of style in how directors like

to hold auditions, and the only way for you to find out

how your director works is to ask him or her. Find out

when and where the auditions are to be held. Most

theatre organizations have a place to post information

known as the call board. The director may want you to

post a notice on the call board detailing how actors

should prepare for the auditions. Some directors want

actors to come with a prepared selection. Some choose

to have the actors read from the script of the play that

is being done. Sometimes it is both. There may be

singing or dancing auditions. If actors must read from

a script, make sure that copies are available. Often times,

the scripts will have been ordered in advance, but if not,

you will need to make copies of the pertinent pages for

use at the auditions.

It is usually best to set up a table in the theatre to

use in processing the auditionees. This will give you a

place to lay the scripts and the audition forms. Consult

with the director about what information should be

required on the audition form, but the most obvious

data should be name, phone number, email address, sex,

height, weight, hair color, as well as any activities that

may conflict with the rehearsal schedule. Quite often,

the theatre or the director may have a standard form

already made up. You should expect to make announce-

ments to the auditionees about who the director wants

to see, and to perform other crowd-control duties. Use