Introduction to the Art of Stage Management

A Practical Guide to Working in the Theatre and Beyond

Michael Vitale

• Publisher: Methuen Drama
• Year: 2019
• ISBN:
  9781474257213
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Theatre Direction & Production

How do you develop the craft and skills of stage management for today's theatre industry? And how can these same skills be applied in a variety of entertainment settings to help you develop a rewarding and successful career? Drawing on his diverse experience working with companies from across the performing arts spectrum in venues from the Hollywood Bowl to the Barbican Centre in London, Michael Vitale offers a practical resource on the art of stage management for new and established stage managers. Besides providing detailed coverage of the role within theatre, the book uniquely explores the field of stage management in numerous branches of the entertainment industry. From theatre, opera, and theme parks, to cruise ships, special events, and dance, stage managers are an integral part of keeping productions running, and this book offers guidance on each distinct area to equip you for a varied and successful career. Written with candour and filled with real-world examples, the book examines the nuts and bolts of the job at each stage of the production process: from preproduction, room rehearsal, technical rehearsal, through to running the show. Vitale considers the skills needed to work with a myriad of different people, explores the traits of a successful stage manager, and helps you to hone and evaluate your own practice.
Whether you are exploring the field for the first time or are a veteran looking to diversify your resumé, Introduction to the Art of Stage Management will provide insight, practical information, and useful tips to help along the way. An accompanying Companion Website features a range of time-saving templates and forms, such as schedule templates and scene samples. https://www.bloomsbury.com/uk/introduction-to-the-art-of-stage-management-9781474257190/

1

Role of the Stage Manager

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Everyone comes to stage management in their own way. Many (most even) begin as performers: actors, dancers, musicians, etc. There are those who begin as designers, stage hands, or even directors and slowly find their way to stage management. The one thing very rarely heard is that someone always wanted to be a Stage Manager. The primary reason for this is that stage management is one of the most ill-defined positions in the entertainment industry. The fact that it is so amorphous has a tendency to keep it from gaining the kind of mainstream awareness that other roles in the theatre have, and so young people exploring the theatre for the first time do not realize that it is an option that they can pursue. It is not until they are working in theatre, in another capacity, that they see the Stage Manager even exists. It is fairly easy to identify the basic things that a Stage Manager does but zeroing in on a specific definition for what a Stage Manager is becomes more complicated.

Broadly, a Stage Manager is defined as the member of the production team who works directly with the cast, production, and creative teams to oversee the day-to-day execution of a theatrical presentation, with a special emphasis on the technical side of the production. I specify “broadly” because while stage management has certain key tasks that are associated with the job, the definition of what a Stage Manager’s role actually is varies depending on the situation in which they are working. The phrase “it depends” comes up quite frequently when discussing the role of the Stage Manager and that is because the variability of the job, even within a single theatrical discipline, is so dramatic.

Understanding the basic functions of the Stage Manager in a theatrical process is going to build the foundation to do the one thing every Stage Manager needs to be able to do: adapt. Adaptability is the single most important character trait in a Stage Manager. Being boxed into a very specific definition of the role is how Stage Managers limit their viability in the workplace. The phrase “everything to everyone” is often brought up when people discuss the role of the Stage Manager. Every show is different, as is every cast and every creative team, so Stage Managers have to be able to adapt to the environment that they are walking into.

Who’s who

“Stage Manager” functions as both a specific job title as well as a broad name for everyone working on the stage management team. Each member of the team is a Stage Manager but only one is the Stage Manager. The rest of the team have their own individual titles and responsibilities. The division of labor among the team is fairly consistent across theatrical disciplines but there are variations, particularly country to country.

Production Stage Manager

The Production Stage Manager, or PSM, is the lead Stage Manager on a show. This term is most commonly utilized in the United States and refers to the person who has ultimate responsibility for the stage management team. PSMs are normally found on large shows. It is not a requirement for all shows to have a (formally titled) PSM, and some companies steer clear of the term. Depending on the type of show, the PSM will handle payroll, scheduling of staff, crew administration, and trucking, all in addition to the standard responsibilities of calling the show, working with the creative team, overseeing rehearsal schedules, etc. The title also sometimes appears as a way to differentiate who the lead Stage Manager is on the show, even if they are not absorbing these additional administrative duties. As is clear, the usage of the term is flexible and really comes down to company preference rather than professional standard.

Stage Manager

The term Stage Manager, or SM, is used in two ways, interchangeably. The first is very general. “Stage Manager” can refer to any member of the stage management staff on a given show. It is used to indicate the department they belong to, in the way they might say “I am an electrician” when, more specifically, they are going to be running a spotlight. When “Stage Manager” is used in this way it is important to be very clear that it is being used generally. This is because its other usage is the specific title of one of the, if not the lead Stage Manager on a show. Whenever the title Production Stage Manager is not used the lead Stage Manager is referred to simply as the Stage Manager. This seems a little convoluted but makes a lot of sense in practice. Either way, the Stage Manager is responsible for serving as the chief liaison between the creative team, production team, and crew. They will oversee the schedule, organize the backstage, and be ultimately responsible for the smooth running of the show, both in rehearsal and performance. The Stage Manager will also be charged with calling the show. Calling the show, which will be discussed in depth later, refers to the calling of all technical cues in performance. These include lighting changes, scenery moves, projection, sound, etc. By calling the show, the Stage Manager holds most of the power in how a performance will progress.

Assistant Stage Manager

The Assistant Stage Manager, or ASM, serves as the “boots-on-the-ground” member of the stage management team. There is often more than one ASM on any given show to ensure that the physical running of the show goes without a hitch. The specific responsibilities of the ASMs change from discipline to discipline and from show to show, but across the board they are actively responsible for the physical execution of everything that happens on the stage. While the Stage Manager is locked in a booth or tucked away in a corner, calling the show, the ASMs are ensuring that cast are in the correct locations, quick changes are going well, props are preset, scenery is ready to move, etc. The title “Assistant Stage Manager” is a bit of a misnomer as the ASM does not really assist the Stage Manager. They have their own set of responsibilities on the show and serve as a compliment and partner to the lead. Every SM/ASM relationship is going to be different and some SMs will treat their ASMs as assistants, but this is not the norm and should not be the goal. A good Stage Manager acknowledges the need for a strong team dynamic and will give autonomy to the ASMs to do their job correctly. The role of ASM is fairly consistent across disciplines, shows, and countries.

Deputy Stage Manager

The Deputy Stage Manager, or DSM, is a role that is almost exclusive to the UK. The DSM falls somewhere in between the SM and ASM in their duties. The most significant difference in this role is that while the DSM is not the lead Stage Manager, they are responsible for calling the show. This is a substantial deviation from the structure previously discussed but makes a lot of sense. By having someone designated as the show caller in both tech and performance, the lead Stage Manager is free to put out fires and help to make critical decisions with a clear headspace. One of the challenges of being the PSM or SM is that you are asked to keep the show running while simultaneously being responsible for making on-the-spot decisions when things go wrong. With the UK structure, the DSM can remain focused on calling a clean show, while the Company Stage Manager is free to address concerns and jump in when needed.

Company Stage Manager

The Company Stage Manager, or CSM, is the lead Stage Manager in the UK structure. The CSM is a hybrid of the Production Stage Manager and a Company Manager. In addition to the administrative duties related to the crew and stage management staff, the CSM will also oversee the management of the cast. This can include tracking payments, ensuring riders are adhered to, managing publicity schedules, etc. They will also retain the responsibility for the production as a whole. By removing certain rehearsal and calling duties from their plate, the CSM is able to assume this more administrative role as they will be more available to everyone in the company. That being said, the CSM will still continue to support the onstage activities by calling certain performances to give the DSM a break, or providing back up to the ASMs in the event they need an additional pair of hands.

Assembling the team

Putting together a stage management team is a daunting process. Some are assembled solely by the producer, while others are put together based on the Stage Manager’s preferences. Either way, the same basic issues need to be carefully considered before offering people the job. It is important to put together a well-balanced team that will first and foremost serve the production. There are two key questions that will help you get to that balanced team:

1 What is their background?

It is important to consider what each team member can bring to the table, in terms of knowledge base. Sometimes this has to do with technical experience and other times it is related to personal interests. For example, if a show is going to be using automation and the Stage Manager has never worked with it before, it would make sense to bring on an ASM who has. By adding this knowledge base to their team the Stage Manager now has a resource they can rely on backstage. Trying to balance the team with people who can fill in gaps is important for the success of any stage management team. It is critical to not have an ego about bringing people on who know more than you. In fact, it should only make the Stage Manager more confident, as they have someone they can truly rely on in their corner.

2 How does their personality fit in?

Any hiring of an employee is going to be full of subjective landmines. There is no empirical way to hire someone while removing bias from the equation. In the case of hiring Stage Managers, the subjective approach is an asset. The reality is that at least 85 percent of a Stage Manager’s job is dealing with people. This means that the personality of the individual is a critical concern and should be an important factor in how a stage management team is assembled. Consideration should be given to the creative team that the Stage Managers will be working with and the tone and tenor of their approach to the work. If the creative team is comprised of very serious, stoic, or straight-laced people, the stage management team needs to be able to slip into that environment comfortably. Putting Stage Managers who are gregarious, jovial, or too relaxed in that environment has the potential to cause friction and discontent on all sides. The reverse is also true. Putting Stage Managers who are overly serious and do not know how to have a good time in a room with a director who approaches the work as play can be equally problematic. It is up to the person who is doing the hiring to try to get a read on all the personalities and try to build a team that will balance well all around.

Artist v. technician

One of the fundamental questions you must ask yourself as a Stage Manager is “am I an artist or a technician?” This may seem an irrelevant topic but, in a constantly changing field like stage management, how you view yourself greatly impacts how you approach the work and how others view you. Before getting into the argument for each of these identifiers, it is important to note that every Stage Manager is going to be some combination of both of these.

The argument for technician

Obviously, there is a significant amount of technical knowledge, or at least comfort with the technical side of theatrical production needed to be a Stage Manager. There are many Stage Managers who very specifically self-identify as technicians. This usually means that they divorce themselves from the artistic discussions involved in mounting a show. They view their responsibilities in the process as revolving around executing the artistic vision rather than participating in it. To some extent, this way of thinking does make sense. As a Stage Manager you are not always going to be permitted to have artistic input on a project, and your job, in its most basic form, is the implementation and maintenance of the artistic product of the designers and director. Removing your own artistic sensibilities from the equation can make it easier to more accurately replicate the work of others, as you won’t be combatting your own personal tastes.

Some people self-identify as technicians simply because that is where their interest lies. Everyone comes to stage management in a different way and if an individual never had an interest in nontechnical disciplines, or they just found their passion lies in the technical side, honoring that is important. There are jobs out there that are even geared towards Stage Managers who see themselves more as technical supervisors than someone who straddles the creative and production teams. The trick is just finding the right job that satisfies your personal desires for your work life.

The argument for artist

A significant element of the role of the Stage Manager is the collaboration with the members of the creative team (designers and directors). This collaboration can require a level of artistic understanding and discourse that makes the Stage Manager feel like a part of the creative team itself. Viewing themselves as an artist can help support this collaboration. Viewing themselves as an artist can also support the Stage Manager’s very real artistic responsibilities to a production. SMs are expected to call a show throughout its run. They are also expected to maintain the overall artistic integrity of the production in the director’s absence. It is absolutely possible to effectively call a show in a mechanically accurate way, but taking the time to understand the artistic approach and reasoning behind light cues, for example, allows the Stage Manager to play an unseen role in the performance. All of the technical cues begin to breathe with the show, and being able to connect with a production on that level allows the SM to adapt to unexpected changes in a more effective and seamless way.

Being able to engage artistically in a project is also going to support the Stage Manager’s ability to maintain a show after opening. Once the designers and director have left, it falls to the Stage Manager to ensure that the artistic quality of the production is maintained throughout the run. Being open to becoming a part of the creative team will help you to support the cast throughout this maintenance process, and to identify what is natural growth and what is counter to the creative team’s intention. It will also help you to see small changes in the design and look at the production in a more detailed way, not using a checklist, but, rather, being able to instinctually feel when something is off.

Again, both of these are totally valid ways to see yourself as a Stage Manager. They each suggest a very strong position of the role in the larger process, and just because you see yourself as one of these now does not mean that cannot shift as your career develops. This discussion is very much a personal one and can get a little heady. It mainly is about your personal philosophical approach to the job, and while there may not always be time to dedicate to such introspection, it is worth thinking about from time to time.

Archetypes of Stage Managers

Self-awareness and analysis is a critical skill for any manager. Being charged with overseeing staff, or leading a team, means you need to understand who you are as a leader and how you are perceived by those around you. Through self-reflection you can identify those aspects of your personality that positively impact your professional development, as well as those aspects of others that can be adopted to continue to better yourself. It does not matter how long someone has been working as a stage manager, there is always room to become better. This is a slow process but a constant sense of self-awareness will only help on the journey.

For young Stage Managers, or those who are stepping into a new theatrical discipline, it is natural to emulate the people they are working with. The obvious thought process is that “if this person has this job, they must be good at what they do, and, therefore, are someone to model my own development after.” This is unfortunately not always going to be true, and the real trick is to know how to identify what another person does that actually works and only begin absorbing those elements. There are a variety of reasons people get jobs. One of the oldest clichés in the entertainment business is that “it is all about who you know.” Clichéd as that statement is, it is true. Nepotism, seniority, and loyalty are all major parts of how the industry works. Sometimes this is a good thing because if you develop a positive enough reputation you will be referred to many employers and will have a fruitful career. In other instances, this may take a negative turn and mean that the best person for the job doesn’t actually get hired because someone else is better connected. Don’t let this be discouraging though. It should serve as motivation to network. Take advantage of ever...

Table of contents

• Cover
• Halftitle Page
• Title Page
• Dedication Page
• Contents 
• Acknowledgments
• About the Author
• Introduction
• 1. Role of the Stage Manager
• 2. Preproduction
• 3. The Production Process: Room Rehearsal
• 4. Technical Rehearsals
• 5. Running the Show
• 6. Working with Others
• 7. Role of the Stage Manager: Opera
• 8. Role of the Stage Manager: Music
• 9. Role of the Stage Manager: Special Events
• 10. Role of the Stage Manager: Theme Parks
• 11. Role of the Stage Manager: Cruise Ships
• 12. Other Avenues For Your Stage Management Skills
• Conclusion
• Further Reading
• Index
• Imprint