book

Stage Manager

by Larry Fazio

July 2000

Beginner

400 pages

18h 38m

English

Focal Press

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The Professional GapLearning the Hard WayThe Human and Psychological SideObjective and Intention of This BookThe ChaptersEnd of Chapter FeaturesA Glossary of Words, Terms, Expressions, and PhrasesA Definition of ProfessionalThe Distinguishing LineThe Most Important WorkThe Musical PlayStandard Stage Manager Titles and Their AbbreviationsThe ASMWomen SMsA History of SMingThe Professional ExperienceInterviews
The Practical ApplicationThe Qualities of a Good SMThe Spirit of an SMThe Right StuffCore of the SpiritA Need for PerfectionControlAnatomy of the ASMShow Business: A Glamorous BusinessInterviews
The Production ExecutivesThe Production Office StaffThe CreatorsThe Production StaffThe Performing Artists and Actor’s EquityThe Technical Staff: Designers, Department Heads, Their Assistants, and CrewmembersThe Shops and VendorsThe Theatre, Performance Site, or VenueIn Review

NetworkingBuilding a ResumePresentation of the ResumeThe LayoutThe CreditsOne-Page ResumesSlanting the Resume and Additional Credit HeadingsRepetitive CreditsAbsence of DatesFurther ExperienceReferencesOptional InformationEstablishing 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 CardPersistence, Paying Dues, Doing Your BestThe Terms of the ContractNegotiatingPersonal Financial Planning, Budgeting, and Support for the SMUnemployment Insurance BenefitsThe SM’s Survival KitThe Professional ExperienceProud to Join the RanksThe Terminator NegotiatorThat Gut FeelingInterviews
The SM’s Portable OfficeThe SM’s ConsoleThe SM’s BagThe SM’s BoxThe SM’s Filing SystemOther Items in the SM’s BoxToday’s Stage ManagerElectronic EquipmentSoftwareIn TransitionThe Professional ExperienceThe Well-Supplied SMLog Book: Star Witness
Forms DefinedThe Scene/Character Tracking ChartOur Imaginary PlayBeginning the Scene/Character Tracking ChartA RefinementThe HeadingBreaking Down the Play by ScenesSubdivision of Scenes, or French ScenesNaming or Tagging a SceneThe Character/Actor–Actor/Character ListThe Sign-in SheetThe Rehearsal Sign-in Sheet and Performance Sign-in SheetListing the Actors’ Names on the Sign-in SheetThe Day Off While in RehearsalsThe Performance Sign-in SheetMatinee PerformancesThe Day Off When in PerformanceAddress Lists and Contact SheetThe Cast Address List and Staff Address ListThe Contact SheetSchedulesThe Block CalendarThe Daily ScheduleThe SM’s Personal Floor PlansStarting with the BlueprintsSMs’ Knowledge of the SetFrom Blueprints to the Personal Floor PlansComputer-Generated Floor PlansThe SM’s Personal Floor Plans for Annie Get Your GunThe Hello Jerry Personal Floor PlansPersonal Floor Plans for the One-Set Comedy, John and MaryListsThe Schedule Reminder ListIndustry Phone Numbers ListThe Correct Spelling of Names ListThe Prop ListSound ListsBody Mic Tracking ChartDressing Room Assignments ListShow Rundown or Running OrderPerformance Running-Time ChartShow ReportsChanges and RevisionsHard Copy for Which the SM Is Not ResponsibleIn Closing
First and ForemostA Starting PointTurning InwardThe Three Parts of the Inner SelfPersonal Belief SystemsMaking Personal ChangeThe Spiritual SelfAnger and FearA Lifetime Work-in-ProgressEgoThe SM’s EgoWorking with EgoThe Issue of Control and PerfectionDealing with Disagreement, Conflict, Confrontation“You” Versus “I”The Art of ListeningBringing ClosureSetting Limits, Boundaries, and ExpectationsThe Power and Position of an SMProfiles: Superiors, Peers, and AssociatesProducerFounder, General Manager, Executive ProducerAssociate ProducerCompany ManagerProduction SecretaryCasting DirectorPublicity: Press, Programs, and PhotographyOffice StaffAuthor, Composer, and LyricistDirectorAssistant DirectorMusic DirectorRehearsal PianistThe Music Arrangers: Vocal, Dance, Orchestration, and CopyistChoreographerDance Captain and Swing DancerPerformersChildren PerformersActor’s EquityDesignersTechniciansTechnical Director (TD)Head CarpenterHead Flyman or Head of the RailHead of Props (Propman, Prop Master, or Property Master)The Electrical Department (Lighting)The Sound Department and Head of SoundI.A.T.S.E.: The Stagehand’s UnionCostume/Wardrobe DepartmentThe Hair DepartmentShops and VendorsThe Performance Site and Their PersonnelIn ClosingThe Professional ExperiencePersonal BeliefsA Central Dance FigureStar PowerBaby June’s Mom: Mamma RoseMaintaining Artistic IntegrityElectrical Storm
The Equity Field RepresentativeThe Auditioning StaffTypes of Audition CallsThe Open Call or Cattle CallAuditioning by AppointmentAuditions for MusicalsSinging Auditions for a RoleEnsemble AuditionsStar and Lead Role AuditionsActors’ RepresentativesAuditions for the Non-Equity ActorPreparing for the AuditionsBecoming Familiar with the ScriptCommunicating with the Audition SiteOffice SuppliesDirectional SignsAudition Instruction SheetThe Audition Sign-in SheetChoosing Scenes for the AuditionThe Audition SpaceDividing the Audition SpaceSetting Up the Reception AreaThe Sign-in TableSeatingToilet Facilities and Drinking WaterSetting Up the Audition AreaThe Setup in a TheatreThe Setup in an Audition RoomQuiet Please! Audition in ProgressThe SM’s Art and Craft in Working the Audition RoomServing the ActorsReading the Scenes with ActorsBringing Closure to the AuditionYour Best Sixteen BarsA Second Time AroundSM as Time KeeperCallback AuditionsActors Getting a CallbackThe Spirit of Callback AuditionsWorking the Callback AuditionsSMs Conducting the First AuditionsYou Got the Job!The SM’s Expressed OpinionIn ClosingThe Professional ExperienceAn Epic AuditionServing the Director’s Audition Needs
HomeworkAt the Production OfficeOn the First DayThe Block CalendarKey InformationUnder the SM’s Watchful EyesProduction MeetingMaking Phone Calls and Creating the Address ListsPersonal ContactInformation NeededApplying the Art of ListeningThe Contact SheetContacting the Equity Field RepresentativeSettling in to a Calmer PaceThe Scene/Character Tracking ChartCharacter/Actor–Actor/Character ListThe SM’s Personal Floor PlansCompleting the List of Hard Copy WorkAssembling and Distributing Packets of InformationRevisions of InformationScriptsDistribution of ScriptsScript CopyingThe Paperback Play BookFinishing the Production WeekRehearsal RoomsTaping the Rehearsal Room FloorRehearsal Props and FurnitureThe Equity CallboardThe Finishing Touches on the Rehearsal RoomIn ClosingThe Professional ExperienceFritzie: A Lasting Impression
The First Day of RehearsalsThe First Day Rehearsal Hall SetupSetting Up for EquitySetting Up the Social AmenitiesAdditional SetupArrival of the CastThe Equity Business HourThe Equity Business to Be DoneAttendance at the Equity HourThe SM’s Formal WelcomeCostume MeasurementsEight-by-Ten Glossies and Brief BiographiesEnter the Producer, Director, and StarReading the PlayBreaks for the CastThe Director and BreaksThe StopwatchThe Mid-Day Meal BreakAfter Mid-Day 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 ScheduleCreation of the Daily ScheduleDistribution of the Daily ScheduleWorking in Realistic TimePoor Use of TimeConsidering the Actors in the ScheduleDealing with People Being LateLate ActorsLate Director or StarsThe Equity RulebookThe Day’s EndThe End of the Day for the SMProduction MeetingsThe Work Continues
Learning the Show and Gathering InformationSet DesignCostumesMusicBlockingA Definition of BlockingPersonal BlockingFamous BlockingThe SM’s Responsibility for Noting BlockingThe Speed Required for Making Blocking NotesThe SM’s ShorthandKnowing Your Right from Your LeftThe Stage BreakdownThe Center Stage LineUp Stage and Down StageThe ApronGreater Division of the StageAdditional Reference PointsThe Complete Stage Breakdown PictureArena StagingAdditional Abbreviations for Noting BlockingAbbreviations for Character NamesMoving SymbolsArrowsSome General SM AbbreviationsNoting Blocking for Busy ScenesThe Absence of Some Blocking DetailsNeat Blocking NotesThe Numerical Way to Note BlockingThe Publisher’s Printed Stage Directions and Technical EffectsOrganizing the Rehearsal/Blocking ScriptTabbing the ScenesInserting the SM’s Personal Floor PlansScript ChangesFollowing 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 ListIn Closing
The Shift in WorkMeetingsLighting MeetingSet 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 or Calling ScriptRun-Throughs of the ShowThe Director’s Obligation to Have Run-ThrusThe SM’s Contributions to the Run-ThrusInvited Guests for Run-ThrusPreparing the Cast for the ChangeoverSupplementary Rehearsal SpaceClosing Out the Rehearsal Hall
The SM’s Master Plan or Conducting ScorePreparing the Cueing ScriptManuscript SizeCutting and Pasting Ends of ScenesEveryone Working from the Same ScriptTabbing the Cueing ScriptCue GatheringNoting the CuesElectric CuesAbbreviations for Noting CuesColor CodingPractical Application in Noting CuesThe CaretMaking Changes and Refining TimingColor Coding Figure 13-2Point CuesBoxed InformationKey Notes in ParenthesesBracketed CuesThe Rail CueCues Cut from the ShowA Group of CuesNoting Spotlight CuesA Complicated Sequence or Grouping of CuesColor Coding Figure 13-6A Granddaddy Cue SequenceColor Coding Figure 13-7Noting WARN: CuesNoting Cues for the Opening of the ShowThirty Minutes Before Show TimeNoting the Half-Hour Call in the Cueing ScriptHead CountPutting in the First Set of WARN:sPre-ShowExampleMastering Figure 13-10Calling the CuesReaction TimeFeeling at Home at the SM’s ConsoleThree Parts to Calling CuesCalling Spotlight CuesQUICK, Turn Page, More CuesCalling Cues with ClarityThe SM’s Pattern and RhythmVocal InflectionWatching the StageTight and FlowingVisualizing Scene Changes and TransitionsGiving Hand CuesWorking in a Congenial, Pleasant, and Businesslike MannerIn ClosingThe Professional ExperienceLost and Never Found: An SM’s Nightmare
The PSM and ASMNo Rest for the SMThe Cast’s Work ScheduleThe Nature of Technical RehearsalsThe SM Entering TechsThe SM’s Work in TechsFirst Business of the DayThe Company CallboardDirectional SignsNo Let Up for the SMThe SM’s Second Day of TechsThe SM’s Psychology of Good TimingGrey 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 SMThe DirectorThe SM, Producer, and DirectorThe CastThe CrewLet the Techs BeginThe Heart of TechsLaying In Spike MarksChanges and Cleaning Up the Cueing ScriptThe Next Phase of TechsActors’ EntrancesNipping It in the BudTiming the Show, or the Running TimeShow Rundown SheetsDry TechsScenery Plot and Fly PlotChecking Sight LinesThe Blue Work LightsCrucial CuesCostumes, Hair, and MakeupMusicals: The OrchestraScheduling the OrchestraRehearsal Space for the OrchestraThe SM’s Responsibility for the Orchestra RehearsalBefore the Arrival of the Fire MarshalThe Fire Marshal’s ArrivalAnother Grey 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 Professional Experience: An SM Overwhelmed
The Event of an Opening PerformanceHellish OpeningsThe Supreme Power and Rights of the SMOne VoiceCurtain BowsLast Minute Cue NotingEncore BowsArrival of Congratulatory ItemsWorking the PA SystemThe Half-Hour CallUse of the Terms Company and CastRepetitive InformationGiving Notes, Instructions, or Directions to the CastHalf-Hour: The Cast’s TimeThe Fifteen-Minute CallFor SMs’ Use OnlyThe Five-Minute CallPrompt and ConsistentApplause and AcknowledgmentCurtain UP!The Professional ExperienceThe Scarlet Primper-Nell
Reviews and Ticket SalesA New ShowA Shift in WorkThe Show is FrozenCompany Manager and SM Left in ChargeThe SM’s Work and ResponsibilitiesThe SM’s Log BookSample Entries in a Log BookActor Changes and ImprovementsKnowing Acting and DirectingGiving Actors Performance NotesVarying PerformancesThe SM’s Transition in Giving Performance NotesGiving Stars Performance NotesDelivering Other People’s Performance NotesA Final Step: Follow-UpThe ASM Takes StageThe ASM PreparesThe ASM’s Working DisadvantageShow Insurance: The Show Must Go OnUpdating the BlockingDays Off and Matinee DaysMatinee PerformancesRehearsals During the Run of the ShowBrush-Up RehearsalsLine RehearsalsUnderstudy RehearsalsStand-By PerformersReplacement PerformersPrompting or Feeding Actors LinesCreating Close FriendshipsThe Professional ExperienceStar Power: Box Office PowerWalking in Elephant’s ShoesThe Reluctant Star Understudy
Types of Touring ShowsEquity CareThe Company Manager, Touring Manager, and SMThe Wear and Tear of TouringThe Road CrewThe SMsThe ActorsThe Parts and Phases of TouringPart One: Closing Out the Show and PackingPart Two: TravelingPart Three: Setting Up and Being Ready for the First PerformanceAdditional Work for the Touring SMSpike Marks and TapingAdditional Conversation with the FOHFocusing the Show LightsSpotlight CuesLocal ActorsAnother SM MythOn the Road Relationships and BehaviorLiving TogetherThe ActorsThe CrewCast and CrewThe SMThe Performance on the RoadThe Professional ExperienceOn the Road with a Major Musical, by Anne Sullivan
The Closing NoticeFeelingsThe SM’s Obligation to the EndA Final SM MythThe Silent PreparationsThe SM’s Preparatory WorkThe Production BookState of the Production BookThe SM’s Personal LibraryThe Cueing ScriptThe Blocking ScriptMuch to Do About NothingA Production Book for the Director?The Log BookThe Final Address ListCollecting ScriptsPersonal PropsThe Last PerformanceThe Equity BondDeparture and GoodbyesThe Professional Experience

Content preview from Stage Manager

In dedicating this book, a list of names comes immediately to mind—people I want to acknowledge and honor. People who opened doors for me, gave me my first breaks, supported me in my career. One person however, stands above the others. I don’t think they will mind taking second place to her.

I dedicate this book to my wife,

Toby,

who shares my life in all my endeavors.

I would also like to acknowledge the following people for their help in my career and in the writing of this book:

SKIPPY LYNN, who saw potential early in my career, opened doors, and let me explore and exercise my talents.

THE PASADENA PLAYHOUSE, for my scholarship, formal training, and early professional experience.

EDWIN LESTER and the LOS ANGELES CIVIC LIGHT OPERA, for giving ...

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Publisher Resources

ISBN: 9780240804101

Stage Manager

by Larry Fazio

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
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Publisher Resources

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,and much more.

You might also like

Stage Manager, 2nd Edition

Stage Management, 11th Edition

Stage Management, 10th Edition

How to Become a Game-Changing Leader

Publisher Resources

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
and much more.