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Stage Manager, 2nd Edition

Name: Stage Manager, 2nd Edition
Author: Larry Fazio
ISBN: 9781315405643

by Larry Fazio

January 2017

Beginner

428 pages

22h 35m

English

Routledge

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Cover
Title
Copyright
Dedication
Dedication to the Reader
Contents
Acknowledgments
Preface to the Second Edition
1. Introduction
The Professional GapLearning the Hard WayThe Human and Psychological Side of SMingObjective and Intention of This BookThe Chapters in This BookEnd-of-Chapter FeaturesA Glossary of Words, Terms, Expressions, and PhrasesA Definition of ProfessionalEquity: The Distinguishing Line between Professional and NonprofessionalThe Most Important WorkThe Musical PlayStandard SM Titles and Their AbbreviationsThe ASMWomen SMsThe History of the SMThe Professional Experience of the AuthorThe Use of SMing Skills in LifeAn Embarrassing SM Faux PasInterviews
2. The Anatomy of a Good SM
The Practical ApplicationThe Qualities of a Good SMThe Spirit of an SMHaving the Right StuffNeatness and PerfectionControlEgoAnatomy of an ASMShow Business: A Glamorous BusinessIn ClosingInterviews

3. The SM’s Chain-of-Command List
Brief ProfilesThe Production ExecutivesThe Production Office StaffThe CreatorsThe DesignersThe Production StaffThe Performing Artists and Actors’ EquityThe Technical Staff: Department Heads, Their Assistants, and Stage TechniciansThe Shops and VendorsThe Theatre, Performance Site, or VenueIn Closing
4. Stage Manager for Hire: Seeking Work, Getting the Job, Being Hired Again and Again
How Do I Get the Job?NetworkingBuilding a ResumePresentation of the ResumeThe LayoutThe CreditsOne-Page ResumesSlanting the Resume and Listing Secondary CreditsRepetitive CreditsAbsence of DatesFurther ExperienceReferencesYour Equity AffiliationContact InformationHobbies and RecreationEstablishing a Good ReputationGood Word-of-MouthInterviewing for the JobGut FeelingControlling the Interview and the OutcomeWanting the JobFirst ImpressionsDressing the PartThe Chit-Chat Part of the InterviewThe Other Side of InterviewingThe Most Difficult Parts of InterviewingGetting an Equity CardThe Equity Membership Candidate ProgramThe Terms of the ContractNegotiatingPersonal Financial Planning and BudgetingUnemployment Insurance BenefitsThe SM’s Survival KitThe Professional ExperienceProud to Join the RanksThe Terminator NegotiatorThat Gut FeelingInterviewsAn SM’s Story of Will, Desire, Wanting, Determination, Drive, and a Great Love for Theatre
5. The Electronic SM: Tools, Supplies, and Equipment
A Portable OfficeThe SM’s Electronic Carrying CaseThe SM’s Office Carrying BagContents of the SM’s Office Carrying BagThe Production NotebookContinuation of the SM’s Office Carrying BagThe SM’s Storage BoxContents of the SM’s Storage BoxOther Items in the SM’s BoxExtra Office SuppliesThe SM’s ConsoleThe Professional ExperienceTax Tip—Deductible Business ExpensesThe Well-Supplied SMLogbook, the Star Witness
6. Hard Copy: Transitioning to Electronic Files—Charts, Plots, Plans, Lists, Schedules, Signs, and Reports
Create an Identifying Heading—a LetterheadForms DefinedThe Scene/Character Tracking ChartOur Imaginary PlayBeginning the Scene/Character Tracking ChartA RefinementThe Heading—the Archival TextBreaking Down the Play by ScenesSubdivision of Scenes, or French ScenesNaming or Tagging a SceneThe Character/Actor–Actor/Character ListThe Rehearsal Sign-in SheetThe Archival Heading for the Rehearsal Sign-in SheetAdding Color to Your FormsContinuing with the Rehearsal Sign-in SheetDay Off while in RehearsalsThe Performance Sign-in SheetFloating Matinee DaysDays Off during PerformanceThe Cast, Technical Heads, and Production Staff Address ListsThe Cast Address ListThe Staff Address ListThe SM’s Group Email ListThe Contact SheetSchedulesThe Block CalendarMassive CoordinationPublication and DistributionDaily Rehearsal ScheduleDaily Schedule for a MusicalThe SM’s Daily ReportThe SM’s Personal Floor PlansScenic Drawings/BlueprintsScenic Drawings—Visual Orientation, Easy ReadThe SM’s Knowledge of the SetThe SM’s Floor PlansThe SM’s Floor Plans for Annie Get Your GunReturn to the Archive HeadingNoting the Acts and ScenesPersonal Floor Plans Void of MeasurementsPersonal Floor Plans Void of Scale MeasurementA More Involved and Complicated Personal-Sized Floor PlanBasic Elements of the Hello Jerry SetThe Backside to the Hello Jerry SetPersonal Floor Plans for the One-Set Comedy John and MaryListsThe Schedule Reminder ListIndustry Phone Numbers ListThe Correct-Spelling-of-Names ListThe Prop ListA “Working” Prop ListPersonal PropsSoundThe Sound DesignerWorking with the Sound TechniciansCreating the Sound/Effects ListThree Sound ListsSound Plot—Sound to Be Gathered and RecordedSound Requirement ListSound Cues ListThe Body Mic Tracking ChartDressing Room Assignments ListShow Rundown or Running OrderThe Show Running Order for Man of La ManchaPerformance Running-Time ChartShow ReportsChanges and RevisionsIn Closing
7. Profiles and Working Relationships
First and Foremost—You!The Three Parts of the Inner SelfThe AdultThe ParentThe ChildPersonal Belief SystemsMaking Personal ChangeThe Spiritual SelfAnger and FearEgoThe SM’s EgoWorking with EgoThe Issue of Control and PerfectionDealing with Disagreement“You” versus “I”The Art of ListeningBringing ClosureSetting Limits, Boundaries, and ExpectationsThe Power of an SMProfiles: Superiors, Peers, and Associates ProducerThe SM’s Conflict of Loyalty—Producer versus EquityMoney and the ProducerUser of PeopleSalesmanship and the Art of SchmoozingFounder, General Manager, Executive ProducerAssociate ProducerProduction ManagerCompany ManagerProducer’s Production AssistantCasting DirectorPublicity: Press, Programs, and PhotographyOffice StaffAuthor, Composer, and LyricistDirectorA Further Pledge of Allegiance, or More Conflict in LoyaltyThe Pivotal PointService versus ServantThe Winging-It DirectorBreaking the Director’s Creative FlowA Breech in AllegianceThe Director’s Patience FactorSM in the Directorial ArenaLearning and Knowing Each DirectorAssistant DirectorMusic DirectorRehearsal PianistMusic Arrangers: Vocal, Dance, Orchestration, and CopyistChoreographerThe Choreographer’s Needs from the SMDance Captain and Swing DancerPerformersPerformers: The Illusion of Being the CenterA Double-Edged LifeContinuous Work for the PerformerMagnifying Feelings, Building into a Frenzy and Peaking into Mob MentalityPutting the SM to the TestGiving Performance/Acting NotesStar PerformersA Star’s Need for SupportThe Power and Control of the StarGiving Stars Performance/Acting NotesDelivering Messages to StarsChildren PerformersThe ParentsThe Teacher/Social WorkerThe Child WranglerThe Wrangler’s Greatest Help to the SMActors’ EquityThe Equity DeputyDesignersTechniciansSM—Leader of the Crew?The Union Brotherhood: Protective and DefensiveUsing Psychology with the CrewGaining Respect from the CrewTechnicians and Artists: Sometimes a Gulf or SeparationSaving FaceTechnical DirectorHead Carpenter and Automation DepartmentTD/Head Carpenter Positions CombinedHead Flyman or Head of the RailHead of Props (Propman, Prop Master, or Property Master)Electrical Department (Lighting) and ProjectionLighting DesignerHead ElectricianComputer Light Board OperatorSpotlight OperatorsAssisting the Electrical DepartmentSound Department—Designer and Technical HeadIATSE: The Stagehand’s UnionCostume/Wardrobe DepartmentCostume DesignerHead of WardrobeDressersWardrobe Department: A Personal ServiceHair DepartmentShops and VendorsThe Performance Site and Their PersonnelBackstage: The House CrewFront-of-the-House StaffThe House ManagerIn ClosingThe Professional ExperiencePersonal Beliefs Getting in the WayA Central Dance FigureStar PowerGypsy—a Real Mama RoseMaintaining Artistic IntegrityElectrical Storm
8. Running Equity Auditions
The Equity RepresentativeThe Auditioning StaffTypes of Audition CallsThe Open Call or Cattle CallAuditions by AppointmentAuditions for MusicalsSinging Audition/Readings for a RoleEnsemble AuditionsStar and Lead Role AuditionsThe Performers’ RepresentativesAuditions for the Non-Equity ActorPreparing for the AuditionsBecoming Familiar with the ScriptCommunicating with the Audition SiteAuditions Held in a TheatreAudition Somewhere Other Than a TheatreAuditions for a MusicalDancing as Part of the AuditionOffice SuppliesThe Producer’s Information Cards/SheetsSignsDirectional SignsPosting the SignsThe Time/Arrival Sign-in SheetThe Audition Instruction SheetThe No Smoking SignThe Cell/Smart Phone SignChoosing Scenes for the Audition—aka “Sides”The Audition SpaceDividing the Audition SpaceSetting up the Reception AreaThe Sign-in TableSeating in the Reception RoomSetting up the Audition AreaThe Setup for Auditions in a TheatreThe Auditioning Staff’s Table in the TheatreAccess Stairs to the StageThe Setup in an Audition RoomPlacement of the Staff’s Audition TableLightingA Room with MirrorsX Marks the SpotThe SM’s WorktableArt and Craft in Working the Audition RoomServing the PerformersReading Scenes with PerformersBringing Closure to the AuditionPerformers Wanting a Second ChanceThe SM as a TimekeeperCallback AuditionsActors Getting a CallbackThe Spirit of Callback AuditionsWorking the Callback AuditionsYou Got the Job!The SM Expressing an OpinionIn ClosingThe Professional ExperienceAn Epic Audition—Part 1Part 2: A Kiss from MelanieServing the Director’s Audition NeedsAn Audition Phobia
9. The SM’s Pre-Production Time
HomeworkScript Smart, Set SmartBeginning Stages of the Charts, Plots, and ListsAt the Production OfficeOn the First Day at the Production OfficeThe Block CalendarGetting Information from the Production OfficeGathering Information from the DirectorGathering Information from the Rest of the StaffTalking with the Costume ShopTalking with Publicity/Public RelationsKey Information to Include in the Block CalendarUnder the SM’s Watchful EyesProduction MeetingVideo Chat, Webcam BroadcastingEnter Ms. Cynthia R. StillingsCast Business: First Contact, General Information, InstructionsThe First-Contact EmailThe Contact SheetContacting the Equity RepresentativeSettling into a Calmer PaceCharacter/Actor–Actor/Character ListThe SM’s Personal Floor PlansCompleting the List of Hard-Copy WorkAssembling and Distributing Packets of InformationRevisions Made on Information Already DistributedScripts and ScoresReceiving an Electronic ScriptScripts and Scores Purchased from a PublisherThe Paperback, Booklet-Size PlaybookMaking the Script into an Editable DocumentDistribution of ScriptsThe Rented Script ListConsidering How Many Copies of the Script Are NeededBy the End of the SM’s Pre-Production TimeThe Rehearsal SpaceTaping the Floor Plans on to the Rehearsal Room FloorThe Layout of the Rehearsal RoomTools Needed for Taping the Floor Plans on to the Rehearsal Room FloorCloth TapeLaying in the Floor PlanIndicating Backdrops, Curtains, and Scenery Flown in from AboveDance/Blocking NumbersRehearsal Props and FurnitureThe Equity CallboardFinishing Touches and Checklist on the Rehearsal RoomIn ClosingThe Professional ExperienceFritzie: A Lasting Impression
10. Rehearsals
The First Day of RehearsalsThe First-Day Rehearsal Hall SetupSetting Up for EquitySetting Up the Social AmenitiesAdditional SetupThe SM’s Workspace and TableArrival of the CastThe Equity Business HourThe Equity Business to Be DoneAttendance at the Equity HourThe SM’s Welcoming and Down-to-Business SpeechPoints Within The SM’s Welcoming SpeechThe SM’s “Rented Script” SpeechCostume MeasurementsThe Correct-Spelling-of-Names ListEnter the Producer, Director, and StarThe Reading of the Play or Table ReadBreaks for the CastThe Director and BreaksThe StopwatchThe Midday Meal BreakAfter Midday BreakMore on the Director and SM’s Working RelationshipA Nightmare SM–Director RelationshipWhat Directors Expect from Their SMsThe Director’s Rehearsal TimeBreaking into the Director’s Creative ProcessThe SM’s NotepadMaking the Daily SchedulePutting Together and Distributing the Daily ScheduleWorking in Realistic TimePoor Use of TimeConsidering the Performers in the ScheduleDealing with People Being LateLate PerformersLate Director or StarsThe Equity RulebookThe Day’s EndThe SM’s Day’s EndProduction MeetingsThe SM’s Work—Continuing and EndlessSound Bite—Barbara Beckley
11. The Rehearsal/Blocking Script
Learning the Show and Gathering InformationSet DesignCostumesMusicEnter the Rehearsal/Blocking ScriptA Definition of BlockingPersonal BlockingFamous BlockingThe SM’s Responsibility for Noting BlockingThe Speed Required for Making Blocking NotesNoting Blocking ElectronicallyThe SM’s ShorthandKnowing Your Right from Your LeftHouse Right and House LeftThe Stage BreakdownThe Basic PartsThe Center Stage LineDifferent Symbols Used for Center StageCreating Up Stage and Down StageStage Divided Horizontally and VerticallyThe ApronGreater Division of the Stage—Cutting the Stage HorizontallyCutting the Stage VerticallyNew Center PointFull-View Drawing—Blocking Areas and Center PointsArena Staging—Theatre in the RoundArena Staging—Theatre in the SquareAdditional Areas and Abbreviations for Noting BlockingAbbreviations for Character NamesNoting the Actor’s Moves/CrossesExample of SM’s Blocking Notation in ShorthandDirectional Arrows Speak VolumesAnother Blocking Notation ExampleGreater Use of the ArrowSome General SM AbbreviationsThe SM’s Picture Drawing in Noting BlockingNoting Blocking for Busy ScenesAnnie Get Your Gun Train Scene1. Annie’s Entrance with Jake2. Buffalo Bill’s Entrance with Charlie, Shortly Followed by Frank’s Entrance3. Dolly’s Entrance and Encounter with FrankThe Absence of Some Blocking DetailsNeat Blocking NotesSM’s Blocking Notes as Written on the Script PageThe Numerical Way to Note BlockingThe Publisher’s Stage Directions and Technical EffectsOrganizing the Rehearsal/Blocking ScriptTabbing the ScenesInserting the SM’s Personal Floor PlansScript ChangesThe Electronic ScriptRevised PagesMarking Revised PagesScript Changes That Create Extra PagesKeeping Script Changes in Electronic File and Hard CopyFollowing ScriptFollowing Script for the DirectorFollowing Script for the ActorsCalling Out LinesCalling Technical Cues in RehearsalsThe SM’s Delivery TechniqueTiming Scenes, Acts, and the Whole ShowPropsDetailing the PropsRed-Flag PropsThe Metamorphosis of the Prop ListThe Performance-Preset Prop ListIn Closing
12. The Last Days of Rehearsals
The Shift in WorkMeetingsSmaller Individual Meetings with the SMLighting and ProjectionsThe SM’s Second Meeting with the Lighting Designer to Get Light CuesHaving the Cueing Script/Prompt Book Noted before Techs BeginSpotlight CuesSet Moves/Scene Changes Meeting (Paper Tech)Sound Cues MeetingCostumes/Wardrobe and Hair MeetingsMeeting with the Music DepartmentSet Designer/Construction Shop MeetingsAdvice to the SMThe ASMBirth of the Cueing/Prompt or Calling ScriptRun-Thrus of the Show at the Rehearsal HallThe Director’s Obligation to Have Run-ThrusThe SM as WatchdogThe SM’s Contributions to the Run-ThrusInvited Guests for Run-ThrusSetting the Rehearsal Room for Invited GuestsArrival of the GuestsPreparing the Cast for the Move into the TheatreSupplementary Rehearsal SpaceClosing Out the Rehearsal Hall
13. The Cueing/Calling/Prompt Script
Cueing Script: The SM’s Master Plan or Conducting ScorePreparing the Cueing ScriptCueing Script—Manuscript SizeCutting and Pasting Ends of ScenesMerging the Score and Libretto into One Cueing ScriptTabbing the Cueing ScriptCue GatheringThe SM’s Artistic Mind’s EyeA Shorthand for Noting CuesThe Notation for Electric CuesAbbreviations for Noting CuesColor Coding CuesPractical Application of Cues into the Cueing ScriptMarking the Spot Where the Cue Is to Be Called: The CaretComparing Figure 13-1 with Figure 13-2Color CodingPoint CuesCaret versus BoxBoxed InformationStandard Abbreviations within a BoxParentheses with the SM’s Handwritten NoteThe Count of the Light CueBracketing a Group of CuesA Group of CuesThe Arrow of ImmediacyFollow CuesVisual CuesNoting Spotlight CuesBuilding Sequences of Cues for a Transition—Easy to ComplicatedAn Easy TransitionA Middle-Sized TransitionA Large and Involved TransitionNoting WARN: CuesPutting the WARNs into the Cueing ScriptHalf-Hour before the ShowThe Preset and Curtain WarmersIt’s Show Time! Noting Cues to Start the ShowThe Craft of Calling CuesReaction TimePlacing the Caret for Timing and PerfectionFeeling at Home at the SM’S ConsoleThe SM’s Console—Basic SetupThe SM’s Needs: Creature Comforts and NecessitiesHeadsetSound Show MonitorReading LightSM’s StoolOther Comforts and NecessitiesHaving a Backup PlanBackstage versus Back of the HouseCalling Cues for the PerformanceThe WARN:The STAND BYThe GO!Calling Spotlight CuesQUICK, Turn Page, More CuesCalling Cues with ClarityPattern and RhythmVocal InflectionNight VisionCalling a “Tight” Show and Keeping the Cues “Flowing”Visualizing Scene Changes and TransitionsHand CuesThe SM’s Sacred Space while Calling CuesIn ClosingThe Professional ExperienceLost and Never Found: An SM’s Nightmare
14. Technological Advancements: Moving Lights, Light Emitting Diodes, Lasers, Haze Makers, Scenic Projections, and Automated Scenery
Moving LightsLight Emitting Diodes (LEDs)LasersHaze Makers and Smoke Machines (CO2Machines)Scenic ProjectionsComputer-Driven AutomationSoundSo What Should Today’s SM Know about the Latest Technology?AutomationSlidersThe Pizza-Cutter Device: The Idler WheelThe Lavaliere Microphone: Body Mic, Wireless, Body Pack, or Radio PackAssisted ListeningSome Basic Knowledge about Moving and Intelligent LightingIntelligent LightingThe Vari-Lite: The Moving SpotlightThe Source Four Lighting InstrumentA Thumbnail Sketch of the History of LightboardsDMX Cable (Data Matrix)Getting Color from the Intelligent Lighting InstrumentsGetting Color from LED Light UnitsGetting Color from Lighting Units Using Halogen and Xenon LampsLED TapeThe LED Panel, Screen, or Video WallGoboLumen, Luminaire, Luminous FluxLumenLuminaireLuminous FluxMore on Smoke, Hasers, and Fog MachinesEquity Rules Governing Atmospherics (Smoke, Haze, Fog, and Firearms)The Material Safety Data SheetAluminium TrussesScenic ProjectionsDL3 Digital ProjectorSome Basic Working Terms for Today’s SM
15. Technical Rehearsals
The PSM and ASMNo Rest for the SMThe Cast’s Work ScheduleLonger Day’s Work for the SMThe Nature of Technical RehearsalsThe SM Entering TechsThe SM’s Work in TechsFirst Business of the DayTour of the TheatreTouring the Front of the HouseWalking through the AudienceVisiting the Box Office and Administrative Office—Meeting the House Manager and StaffThe SM’s OfficeCast Dressing Room AssignmentsConsulting Wardrobe and Quick ChangesDressing Room NameplatesA Schematic Drawing of Dressing Room AssignmentsThe Company CallboardDirectional SignsNo Let Up for the SMThe SM’s Second Day of TechsTech Departments ReadyWhite Tape and Glow TapeThe Dance/Blocking NumbersThe SM’s Psychology of Good TimingGray ResponsibilitiesIn the Line of Fire, MagnifiedThe Crew’s Expectations of the SMCast and Crew Coming TogetherPreventative MeasuresThe SM Sets the ExampleThe Daily Tech ScheduleDivision of LaborThe Working Relationships of TechsThe Principal Performers in Technical RehearsalsThe SMThe DirectorThe SM, Producer, and DirectorThe CastThe CrewLet the Techs BeginThe Heart of TechsLaying in Spike MarksChanges and Cleaning up the Cueing ScriptMoving into the Next Phase of TechsActors’ EntrancesNipping It in the BudTiming the Show, or the Running TimeThe SM Moves from out Front to the BackstageShow Rundown SheetsDry TechsScenery Plot and Fly PlotChecking Sight LinesThe Blue Work LightsCrucial Cues to the ShowCostumes, Hair, and MakeupMusicals: The OrchestraScheduling the OrchestraRehearsal Space for the OrchestraSetting Up the Orchestra Rehearsal SpaceSetup of the Orchestra PitThe Sitz Probe (Sitzprobe)The Different Parts of Rehearsals for the Orchestra—Schedule BreakdownThe SM’s Responsibility to the Orchestra RehearsalBefore the Arrival of the Fire MarshalThe Fire Marshal’s ArrivalAnother Gray ResponsibilityThe Final Phase of TechsCollecting and Returning ValuablesTechs ContinuePerformance LevelThe Director Giving NotesImportant Information for the SMPerformance Show ReportsDetailed Timing FormsProduction Photos or VideosNews Coverage and InterviewsPiano TuningMore on the SM’s Working RelationshipsA New BeginningThe Making and/or Rewriting of the Cueing ScriptThe Professional Experience: An SM OverwhelmedInterview
16. The Opening Performance
The Event of an Opening PerformanceHellish OpeningsThe Supreme Power and Rights of the SMOne VoiceCurtain BowsLast-Minute Cue NotingEncore BowsThe SM’s Judgment and Timing in Giving Encore Curtain BowsArrival of Congratulatory ItemsWorking the Backstage Public Address SystemThe Dreaded Red Box!Communicating to Cast and CrewCollecting ValuablesUse of the Terms Company and CastRepetitive InformationGiving Notes, Instructions, or Directions to the CastBeing Clear and Specific in Delivering Information on the PAHalf-Hour: The Time of Preparation before the PerformanceThe Fifteen-Minute CallThe PA—for SMs’ Use OnlyThe Human SideThe Five-Minute CallDelays in the Starting Time of the ShowConsequences and Considerations When Starting the Show LateStar Courtesy and ConsiderationLate PerformersPrompt and ConsistentApplause and AcknowledgmentCurtain Up!The Professional ExperienceThe Scarlet Primper-Nell
17. Run of the Show
Reviews and Ticket SalesA New ShowA Shift in WorkCompany Manager and SM Left in ChargeThe SM’s Work and ResponsibilitiesThe SM’s LogbookSample Entries in a LogbookA More Complete Example from an SM’s LogbookActors Making Changes and Improvements in the ShowThe SM Knowing Acting and DirectingGiving Actors Performance NotesVarying PerformancesThe SM’s Transition in Giving Performance NotesGiving Stars Performance NotesGreater Latitude for Star PerformersDelivering Other People’s Performance NotesA Final Step: Follow-UpThe ASM Takes the StageThe ASM Prepares—Calling Cues for the ShowThe ASM’s Working DisadvantageMusical ShowsShow Insurance: The Show Must Go OnUpdating the BlockingThe “Archival” VideoDays Off and Matinee DaysMatinee PerformancesRehearsals during the Run of the ShowBrush-Up RehearsalsLine RehearsalsUnderstudy RehearsalsThe SM Must Be PreparedRestrictive GuidelinesThe Soul of Understudy WorkAn Assortment of UnderstudiesThe Understudy Who Will Never Go OnNo Performance during Understudy RehearsalsThe Understudy’s First PerformanceScheduling Understudy RehearsalsUnderstudies Watching from the WingsUnderstudy Rehearsals for MusicalsStandby PerformersReplacement PerformersPrompting or Feeding Actors’ LinesCreating Close FriendshipsThe Professional ExperienceStar Power: Box Office PowerWalking in an Elephant’s ShoesThe Reluctant Star Understudy
18. The Touring Show
Types of Touring ShowsNational TourInternational TourOut-of-Town Tryout or Pre-Broadway RunRegional TourSummer StockBus and TruckSplit-Week TourOne-Night StandRoad ShowEquity Taking Care of Its MembersThe Company Manager, Touring Manager, and SMThe Wear and Tear of TouringThe Road CrewThe SMsThe PerformersThe SMs Anatomy of a Touring ShowPart One: Closing Out the Show and PackingThe Producer’s Transition TimeThe Two Phases to Closing Out a Touring ShowThe SM’s PreparationsThe Last PerformanceAdvance PackingLet the Packing BeginPart Two: Traveling the Show—Cast, Crew, and All Things TechnicalTraveling the CastA Company Traveling Information NoticeA Time Schedule for Departing the Old Town, Arriving at the New TownThe Partner or Buddy SystemEstablishing PromptnessPersons Traveling on Their OwnLuggage and Baggage HandlingTagging Each Piece of LuggageBaggage Check-InBaggage ClaimPart Three: Settling into the New Town and VenueOn-the-Road LivingMaking Yourself at HomeLiving AccommodationsThe Temporary CallboardThe New Performance SiteThe Show Crew, House Crew, and Local CrewA Mini-TechSetting up at a New Performance SitePutting It TogetherAnother OpeningThe ASMAdditional Work for the Touring SMSpike Marks and TapingAdditional Conversation with the Front of the HouseFocusing the Show Lights—a Job for the ASMSpotlight CuesLocal ActorsAn SM MythThe SM’s Time of Supreme AuthorityLiving TogetherThe PerformersThe CrewCast and CrewThe SMThe Performance on the RoadThe Professional ExperienceOn the Road with a Major Musical, by Anne SullivanTouring Magic ShowThe Black DrapesElectricsSpotlight CuesSoundTech Day and Two PerformancesExample: Magic Show Lighting Plot/Requirements
19. Closing the Show
The Closing NoticeFeelingsThe SM’s Obligation to the EndA Final SM MythThe Silent PreparationsThe SM’s Preparatory WorkThe Production BookThe Importance of the Production BookA New Show or a RevivalThe SM’s Personal LibraryThe Cueing ScriptThe Blocking ScriptMuch to Do about NothingA Production Book for the Director?The LogbookThe Final Address ListPersonal PropsLast-Performance PranksThe Equity BondDeparture and GoodbyesThe Professional Experience
20. In the Line of Fire
PrologueGetting the JobThe HoneymoonEnter Miss DarlingThe Honeymoon Is OverTechnical RehearsalsThe San Francisco TryoutThe PSM’s TurnVera’s MadnessLast Week in San FranciscoThe Los Angeles RunSpiraling DownwardThe “Ha!” CueThe Curtain BowsThe Portrait CueThe Chicken CaperThe PSM and IThe Flood of Blue LightsEpilogue to the Blue LightsMechanical FailureIn Closing
Glossary: The SM’s Working Vocabulary
Index

Content preview from Stage Manager, 2nd Edition

13The Cueing/Calling/Prompt Script

Before moving our discussion into technical rehearsals, we must take time in this chapter to create the cueing script. Remember, the cueing script must be put together and ready to use on the first day of technical rehearsals; trying to put it together during technical rehearsals is a grave disservice to the SM. In doing the initial work on the cueing script, the SM needs quiet time, in which they can think and envision the cues as they are transposed from the rehearsal script to the new cueing script.

Yes, the cueing script can be put together during technical rehearsals. In some working situations, it may be the only time the SM can get this job done. However, with the short amount of time allowed for technical ...

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Stage Manager, 2nd Edition

by Larry Fazio

13The Cueing/Calling/Prompt Script

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