The other factor to be considered is how the audition will be advertised for example will it be open auditions advertised in a local newspaper or closed auditions in which case agents are contacted directly to see wither they have a performer suitable or anything in mind. However this is not usually handled by the stage manager but the director who will give this job either to casting director or assistant Director.
During auditions the Director and DSM will usually be present the stage management team will all be involved in running the auditions together with other members of the production team like runners for example to help out with looking after the people auditioning with refreshments etc and taking down name of people as they arrive for auditions.
Textual Analysis/design
This is perhaps the most important stage within the preparation period as this is the point in which the designer and director meet to discuss and decide on the whole style of the production bearing in mind the style, era and stage direction of the piece the director and designer will come to an agreement on the design and outlook of the production from this they will draw up rough sketches of the design and ground plan they may change this a number of times before deciding on the end product this will usually be in working drawings and a ground plan. The designer will then make a model using these to represent the dimensions, structure and layout of the set. This will then be passed to the SMgt team who will use it for the mark up.
Model
The model as mentioned before is constructes by the designer after the decisions on the design of the production and set are made. It is a a representation of the set scaled down to the scale of 1:25 and represents th exact dimensions and structure of the set. As well as this it represents the textures and furnishings of the set accurately. The model is used as a reference by every department in the theatrefor example by director when considering ideas for blocking, by performers to establish the dimensions and layout of the set to themselves, technical crew to establish where all furniture, scenery will be positioned when assessing where they will be positioning special effects etc.
Ground Plan
The groundplan is is almost like a flat version of the model seen from above. It is scaled down from life size like the model and represents exactly the measurements and dimensions of theset. Obstacles on the set like furniture for example or stairs are represented by symbols with a key to show how these symbols translate. The ground plan will show the whole stage area it may also show the wings and some areas backstage it will also have the auditorium. Once the designer has drawn up the ground plan the stage management team then uses this as a reference when doing the mark up. It is also used by many other departments as it gives the measurements of all scenery, furniture etc so is therefore important for the likes of the set department when they are building the set.
Mark up
Before any rehearsals take place the rehearsal space must be prepared. It is vital that as Stage manager you ensure the rehearsal space is clean tidy and ready for rehearsals every day. The mark-up involves marking up the measurementsand layout from the ground plan on to the rehearsal room floor. The lines, which represent things like the walls, furniture, entrances and exits will be shown by LX tape
The following things are necessary for mark-up
Tape measures scale rule
LX tape
Stanley knife
Pencils, chalk and string
Firstly you must scale up the measurements for the ground plan using the correct scale(most designers and theatres use1:25) firstly draw the setting line which is the one which represents the front of the stage
Props and furniture set up
With the mark-up complete you as stage manager have the representation of the set. Now the furniture and props can be set up on this mark-up the furniture and props do not necessarily have to be the ones used for performance but they should be as close as possible for the performers and the stage managements good.
Stage manager or a member of SM team must liase with props dep if they are to provide props for rehearsals also if the performers are to provide their own props at any point the stage manager must be aware of this. If the props department are not in charge of props during rehearsals then the DSMteam will be responsible for the props table in both laying it out and accounting for all the props.
Preparing prompt copy
The prompt copy is the direction, cues and blocking for the entire script and is absolutely essential to stage manager. The stage manager will firstly use have a copy of th script photocopied onto A4this will then be put into a folder and on the right hand side of every page of script a sheet of plain A4 opposite it. As stage manager goes along blocking the script etc they will use the plain sheet alongside every page of scrit to note down (in pencil) the cues for that page of script. Though this ‘Book;is essentially the property of the stage manager it may sometimes be looked at by other members of the team as a reference, also should something happen and stage manager is unable to attend rehearsals some other person must take over and they must then look at the prompt copy and find it legible and understandable therefore the layout and type of blocking, cues as well as the symbols representing things like lighting or sound effects must be universally understandable.
First day of rehearsals
The first day of rehearsals are essentially a getting to know you day in which the production team will get together as a whole to discuss the production. The stage manager should ensure that this runs smoothly as it is also a learning day in that people will be learning who they will be working with the dynamics and hierarchy of the team etc. The first day is generally informal and refreshments etc should be on hand for people. As stage manager it is essential that you ensure that the team is informed and up to date with who each other are etc therefore you should initiate introductions. It is important that from the onset the team knows each other roles in the production. If you are aware that some members know each other already or that others are completely new and don’t know anyone its important to put them at their ease. Researching the surrounding area (if you are already familiar then you will know important landspots already) is necessary for different reasons
Some mebersmay be new to the place you are situated therefore you should find out about transport accommodation, maps etc
Amusement and dining etc
Doctors surgeries or emergency services
Stage manager will start by introducing everyone or by allowing them to introduce themselves. They will then move on to discuss the production. Their ideas and motivation behind it, the style and the atmosphere. The Director may here speak about their vision for the piece. The model is invaluable here as it gives all members a physical representation of the set. Here different members of dep may want or you may ask them to contribute for example sound dep may contribute ideas they have and what their plan is, costume may show in drawings etc their ideas.
On the first day it is on stage managers dicretion wether or not to do a read through. If so you may time this to give a very rough idea of running time, make your own notes and have ‘the Book’ on hand at all times for stage directions,cues etc
Rehearsal period
Blocking
As stage manager you are responsible for blocking performers moves throughout the production. Moves include walking,standing, sitting gesturing, entering and exiting set amongst others and with each of these moves is a symbol which represents it. The blocking is all put down in to the prompt copy or ‘Book’. Stage manager or someone representing the stage manager with the prompt copy must be present at EVERY rehearsal. If not the rehearsal is meaningless because none of the moves directed that day will be recorded therefore if they are not remembered by performers (which they probably wont) they will be lost forever.
There are two types of blocking
GRAPHIC: This actually shows the move in a picture form with arrow indicating direction and symbols representing characters and set @
SHORTHAND: In which characters,set and moves are all represented as symbols with a key to show their meaning@
However most stage managers use a combination of both it is important that the symbols and key are simple as possible and easy to decipher also there is a universal key used for blocking which most stage managers adhere to with a few exception for example@
Prompting
Prompting is following the script closely as the actors perform and anticipating their next lines so that if the need it you will be able to give them their next line. A good relationship with the performers and a well kept prompt copy are important here.
Rehearsal notes
The DSM will attend all rehearsals as one of their key roles is to record all the notes relating to other departments, for example the Director might give a direction that the lighting is too dim down stage, this relates to the lighting department and it is important that they get this information to make the necessary adjustments. The DSM will take down all of these notes during rehearsals and afterwards will note down in detail all of these on a rehearsal notes form which will then be circulated throughout the company to ensure every dep gets a copy wether there are notes for them on it or not@
Rehearsal calls
Rehearsal calls are when various members of the production and others are called up to attend either a rehearsal or something of the sort. They are generally addressed to performers to attend rehearsals but they also include all other departments. The ‘call sheet’ will detail exactly who is to attend, where they are to attend and at what date and time. This is another important roel of the DSM and after every rehearsal they must liase with the Director on who is to be called for rehearsal. The DSM will use an ‘availability chart when righting up call sheets as this shows which performers are in which scenes. Calls are not necessarily just for performers, they can be for musicians of bands if they are in the production, for wardrobe if it is a dress rehearsal etc
Contact sheet
A contact sheet is a note of the contact details of every member of cast and team, it should have names, addresses and phone numbers it may also have other relevant details several copies of this should be made and it is the DSM responsibility to ensure this. There should be a copy in ‘the book’ at all times and the Director and stage manager should each have a copy. The contact sheet is the only link
Setting plot
The setting plot is a plan drawn out to represent the setup of the floor plan from the beginning of the production ie scene 1, Act 1. It is drawn to scale and perspective is from a birds eye view ie as seen from above. The setting plot includes all aspects of the set including props and furniture in exact detail. Its purpose is to give an exact representation of how the set should be . Separate setting plots for separate scenes will be necessary unless in unusual circumstance that a play has only one set and no set changes. However even under these circumstances, props, and backstage directions may change, this is why separate setting plots for on stage and off stage may also be necessary. For example if the stage space is limited various props and furniture may haave to be kept back stage and moved on set during scene changes. The setting plots for all scenes and areas ieOnstage, Backstage and Personals are planned out by the DSM as the production is in pre production and rehearsal stages as it is only during these times that the DSM can establish what props are on in what scenes what changes place during scene changes ane what in on stage and backstage throughout the production. The setting plots may become more numourous and more detailed depending on just how complex and complicted all of the scene changes etc are.
Onstage
Back stage
Personals”
Roles and responsibilities
The DSM is directly responsible for the setting plot although they may not physically draw them up themselves they will oversee it. The DSM will be present during the whole rehearsal period so that nothing concerning the set escapes their attention they must know their theatre space very well to draw up accurate setting plots. It may be necessary to amend and re-do setting plots if directions change during rehersal but an initial rough draft of set plan at the very beginning known as the top of(or beginning of) the show
Interaction with colleagues
The DSM will work closely with ass DSM, heads of department (particularly props) and performers.
Running plot
As the periods of pre-production and rehearsal periods progress it is the duty of the DSM to take on board all direction and changes, stage direction etc, during this time the DSM will make a detailed list known as a running plot when it is The running plot is one of the key roles of the DSM without it is very unlikely that the production could take place. It is a list of things which the DSM is responsible for during rehersal and production. The running plot will be in chronological order beginning with the very first directions.
Beginners this is the call given back stage to performers and crew that curtain up ie the show will begin in 5 minutes.
All scene changes
Paging and cuing actors on stage
Live sound and lighting, technical cues
Intervals
Cuing props table to perhaps have a prop on hand for a performer
The DSM should note down every task and que though they may not necessarily perform it themselves it is their responsibility to take down e very detail as the rest of the crew ans SMteam will use the DSM’s Master running plot as a guideline and template to establishing their roles and drawing up their own running plotes for themselves detailing their roles durin the running of the show.
Pre-production
Final run through
Before the final run-throughs the production may go to plan in theory however final run-through are necessary to highlight any problems there may be during production, I have listed a few examples below;
Costume department may not have taken into account any frantic or violent movement the performers make and the costume may not be appropriate for this,
The performers may be used to rehearsing in a separate rehearsal space and so when entering and exiting set may have difficulty as they may not be sure where to go.
Another example is that the props table could be situated too far from the stage for performers to have time to get their props in which case it may be necessary for a runner or a member of the SM team or props department to be on hand to give the performers their props.
Props call
The purpose of the props call is to;
- assess whether or not the prop is their. During rehearsal simple props, sometimes the performers own are used while SM researches and obtains the props to be used in the production.
- To asses whether the props are suitable and appropriate for the production in which case the director must be consulted
Before a props call the props table (there may be a whole props area if some items are too large for the props table will be neatly laid out. Props department will usually lay props on a prop table with white paper over it and allocated spaces for each prop, the name and details of each prop written on the space. During a props call
Cue synopsis
Costume call
Props call
Calls
Production week
Production schedule
Order of events
Technical rehearsal
Post technical
Dress rehearsal
Show report
Previews/1st night
Run
Crisis management
Final performance
Strike
Returns
Pre-production
Final run through
