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Having stage managed television shows, national tours, pageants,
telethons, bands, musicals, opera, ballet as well as many
parties and special events for the past nineteen years, I
guess I know a little about…well making signs and lots
of forms.
I had a girlfriend spend an entire load-in day with me once.
At the end of the day I asked her what she thought that I
did for a living. She said very confidently, "You tell
people where to go and then make signs to tell them where
to go." I think that was the best explanation of a job
that requires all of your organizational and schmoozing abilities
at a moment's notice.
When the Dogz asked me to write a piece on Theatrical Tour
Prep, I felt like finally the soap box was given to me rather
than my just getting up on it. When preparing for a road show
your prep work can be the most important part of your job.
Having your act together can give you a comfort level going
into rehearsal and tech that will help the general atmosphere
on a day-to-day basis.
First make yourself familiar with the piece; no matter if
it is a musical or straight play. Read the show, research
the history (e.g., first performed, writers, lyrists, etc.).
Young and old actors alike love it when the stage manager
can rattle off both information and trivia about the show.
Second, begin the never-ending process of the dreaded contact
sheet. I like to call all of the actors personally and introduce
myself a week or so before the first rehearsal. This will
help the actors feel like they are getting personal attention
and you can get the information needed at the same time: Phone,
address, cell number, service, mom and dad's address, email,
etc.. Breaking the ice with a fun question can give you a
connection on the first day, like, "Do ya drink a lot
Susie." The contact sheet will always be in need of an
update. Stay on top of this or you will hate the tedious work
when the producer asks why theirs is incorrect.
The next step is to get all of your forms together. Spelling
is the key to success with your forms. I can't tell you how
rotten you and the actors feel on day one if their names are
misspelled. Double and triple check your work. Here are few
suggestions for forms that you will need: Sign-in sheet template;
scene breakdown with real names and character names; scene
shift breakdown template; rehearsal report template; show
report template; injury report template; and reprimand template.
Making all of these templates ahead of time will help make
things faster when you have to input information. I like to
make a bunch of direction signs with arrows and the show logo
before the first day as well. Again, having all of this information
at your finger tips will give you time to concentrate on the
more important things.
Everyone has their own filing system. What I like to do is
create a folder with the show name. Make a shortcut to your
desktop. In this folder I have other folders which include:
personnel, performance reports, rehearsal reports, important
documents, press, correspondence, technical, manager's reports,
schedule, and -- my favorite -- Stage Manager Documents. Of
course this part of the job is all up to you. Having organized
files of this sort will make it easy to pull up a report or
form, especially when your fly man left his Rail Cue Sheet
in Peoria a week ago and is just getting around to telling
you.
If you are on an Equity or IATSE union tour, there maybe
other paper responsibilities. Often times it is the General
Manager or the Tour Company Manager who deals with the union
end of the tour. As Stage Manager, you will have reports that
must be sent in to Equity each week. You will also have show
related dealings with the elected Equity Deputy. It is important
that with in the first few days of rehearsal you allow time
for the Equity actors to elect a deputy. You will not have
any hearsay in this, but secretly you hope that it is an intelligent
person who can head off any trouble before it becomes a company-wide
issue. Make it a point to speak with your deputy often. Again,
it will make him or her feel that they are being listened
to. Remember that you are in a Managerial position and have
access to lots of important company information. Be cautious
about what information you give to your deputy, dance captain
and even your assistant. There are not many things worse than
a road company with too much information. That can make for
a coup d'etat that would be unpleasant for everyone.
On the first day of rehearsal producers, general mangers,
creative and any other people with money in the pot will give
their hellos and explain that "this is the best team
ever assembled to put on a production." Once that it
is done it is up to the Company Manger to go over the rules
of the road. Most road companies have a hand book if you are
non-union. Equity spells it out in their book as well. Non-union
has policies that cover everything from drugs to leave-of-absence.
The hand book will also cover finable offences (e.g., late,
not hanging costumes up, not retuning a mic pack, not correcting
a note, suntans, changing hair, changing a line, etc.). The
fines are generally $25. The money can be used for a party
at the tour end, or, more times than not, the money is donated
to Equity Fights AIDS.
I feel that it is important for stage management to be present
when the rules and regulations are being discussed. It shows
that all of the road managers are on the same page. Having
managers not communicate is really bad - and is usually the
demise of one or all of them on a tour. This meeting with
the company gives you the opportunity to explain your own
rules and how you like to work, especially in a non-union
situation. Most non-union tours have many actors who have
never toured. It is very important to lay down a few rules
at the beginning and stick with them. Don't ever waiver from
your rules. No favoritism. Remember that you are always open
for being questioned. You are a manager and always need to
remember that. Even seemingly minor personal things can completely
compromise your position with cast and crew. Maintain a working-relationship
distance.
So you are into rehearsals. We have all been there and done
that. I got to a point that I had my assistant take down all
of the blocking. So many times we as stage managers get so
bogged down taking all of the blocking that we lose valuable
information that the director is giving the actors. Having
an assistant take blocking allowed me to focus on what the
director and designers really wanted for their production.
This also allows you to watch and listen to the director.
When you are out on tour you represent the director. You need
to know the show backwards, forwards and sideways. One month
down the line when you are putting in an understudy with no
help from the creators, you will be glad you listened to all
of the director's ranting and ravings. Rehearsal is the time
to fill your head with everything about the show. Take lots
of notes; then, put them on your computer that evening. Having
your notes to refer back to is invaluable on the road.
At the rehearsal day end, take the time to do your paperwork.
Drink later. "Oh I'll just have one drink and then do
my paperwork." Three drinks later you have forgotten
your paperwork and possibly the next day's schedule. That's
when you are just rounding that "Bed spins" corner
and Susie calls you on your cell to ask you what her call
time is.
There will be production meetings throughout the rehearsal
process. Be sure to keep good records of all the meetings.
You are the communication department. Think of how easy it
will be to pull up a meeting when the Scenic Designer said
that it was OK not to texture a piece when they say "I
never said that." Your Production Supervisor will probably
buy you that drink they have been promising.
When the rehearsal process in a rehearsal hall is complete
you will move to a venue to start the Technical Process. It
is very important for you to have a day on the set before
your actors. You will need to learn the lighting focus of
the show, walk the set and talk with the crew about concerns.
Spiking the stage will also need to be done on day one. Don't
put it off until a half hour before the company arrives on
stage. Be sure that you use tape to spike. Wait until the
final day to make permanent spikes on your deck or Marley
floor. All of the spikes will be wrong in the first venue,
but at least you made the effort.
The Tech process is the most tedious part of getting the
tour up. You are in charge of so many things it is hard to
think straight. Take it one step at a time. Try not to get
overwhelmed. If you feel a tantrum coming on, just excuse
yourself for a moment. No one will blame you. There are times
for screaming and times for calm. I have found after many
years of screaming that calm gets things done more efficiently
and in the end more fun.
While the Director and Design team are the most important
folks during your tech don't lose site of what your cast is
going through. You must figure out a way to keep them on your
side during a long couple of weeks. Make sure that you have
personal contact with them each day. Have a meeting, meet
them at the door as they come in or just hang with them on
stage for a moment. When the time comes for you to ask them
for overtime or something above and beyond your relationship
with them will make things easier.
The road crew is a completely different entity. The Technical
Director or Head Carpenter is the road crew's direct supervisor.
However, you must be able to speak with them, have their respect
and get them to jump through a hoop at any given moment. I
come from a stage hand background so I have always been able
to relate and talk with the crew. If you are a Stage Manager
with no real hands on stage hand experience I suggest that
you get some. Work a few calls on each department. If you
are reading this and still in college, make sure that you
take work calls. Any local or road crew will respond much
better to you if you know what you are talking about. Don't
ever try to fake that you know what you are talking about.
The crew will pick up on it instantly and you will be screwed.
If you don't understand why the entire show can't fit in to
a venue, ask the TD. Get an explanation and then move forward.
Go onstage and discuss the problem. You may find that you
have a solution to help, but only if you have the technical
experience.
During the Tech process you are also dealing with designers.
While your Production Supervisor and Technical Director do
most of the work with the designers, you are responsible for
seeing the show that they put together stays together. Having
personal contact with them each day, even if it is just asking
how they are, is important. You will get valuable information
from them that will help you on the road. Ask the Scenic Designer
what are the priorities when cuts need to be made to the show.
Make sure you take the time to listen to the show so you know
what the designer wants to hear out of their system. Talk
with the make-up artist so you understand why it is important
for a particular eyelash to be used. As I have said before
get as much information as you can while you have access to
the director and the designers. You can sleep when the tour
is over.
In part II of this article we will talk about ending the
tech process, starting and maintaining the tour, bad and good
venues, bad and good local crews and the day to day politics
of a successful tour.
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