1. Stage Manager
Theatrical Design and Production; Fourth Edition J. Michael
Copyright: 2000, 1997 by: GilletteMcGraw-Hill Companies
Pg. 9, 10, 11

2. Stage Manager
The stage manager can be compared to a very gifted, slightly eccentric master mechanic who keeps a cantankerous, highly complex machine running at top efficiency by talking to it, soothing it, and lovingly fixing whatever is broken. The specific duties of the stage manager can be broken down into two primary categories: (1) assisting the director during rehearsals and (2) being responsible for all backstage activity after the show opens.

3. Stage Manager Definitions:
Prompt book: A copy of the script with details about each actor’s blocking as well as the location of all sets, props, lights, and sound cues.
Stage business: A specific action, also known as a “bit,” performed by an actor during the play.
Call: To tell specific crew members when to perform their cues.

4. Stage Manager
The stage manager helps the director by taking responsibility for the majority of administrative details. They include such diverse duties as making sure that the ground plan of the set is taped or chalked on the floor of the rehearsal hall, arranging for rehearsal furniture (substitute furniture for the set) as well as tables and chairs for the director and other production personnel, and writing the blocking in the stage manager’s prompt book.

5. Stage Manager
The stage manager also assists the director by keeping information flowing among the director, the designers, and the various technical shops. During the rehearsal process, the director may decide to introduce a piece of stage business that requires the modification of some technical element. If the director decides that an actor should bounce a ball against one of the set walls, the stage manager needs to tell the set designer that this section of the wall must be sturdy.

6. Stage Manager
Until the production moves into the theatre—or until the beginning of technical rehearsals, if the play has already been rehearsing in the theatre—the stage manager usually sits beside the director to facilitate communication. When technical rehearsals begin, the stage manager moves to the location from which he or she will call the show. The crew members will have previously recorded what to do on their cue sheets, but they don’t start the action until they receive their “go” cue from the stage manager. Stage managers have traditionally called the show from backstage, because this location kept them in close contact with the cast and crew.

7. Stage Manager
However, the development of new theatre conventions, environments, and equipment enables the cast to make entrances through the auditorium and allows the lighting and sound operators to be in the optimal positions for seeing and hearing the stage action. This dispersion of the actors and crew from the back stage space has freed the stage manager to call the show from whatever position provides the best overall view of the action.

8. Stage Manager
When the stage manager begins to call the show, the primary focus of his or her responsibility changes from administrative support for the director to technical coordination of all production activities. The director and various designers determine the nature and timing of the cues, but it is the stage manager who is responsible for seeing that those instructions are carried out. The designers still discuss conceptual and aesthetic issues with the director, but they usually communicate specific information related to cues that will be called by the stage manager directly to the stage manager.

9. Stage Manager
The stage manager calls the show from notes written in the prompt book. Preliminary locations for many of the cues will have been noted in the book during the rehearsal period. During the tech and dress rehearsals, the location, timing and character of these cues are adjusted. When the last dress rehearsal or preview performance is finished, the prompt book will contain a complete and accurate set of instructions for running every cue in the production.

10. STAGE MANAGEMENT PROMPT BOOK
From the web site:
3 inch D- ring Binder
1 Set of (8) index tabs w/ inserts
Script enlarged to 8 X 10 justified to left margin and three hole punched and copied to heavy weight paper or card stock.

11. Prompt Book Format should include:
Tab and dividers:
The prompt book should be sectioned off with the following tab dividers, with the listed information under these headings.

12. CAST INFORMATION:
Cast contact sheet, listing all personnel connected with the production.
The original or copies of the audition forms, for each of the cast members include resumes and head shots if available.
Medical Information, contact information for doctors if cast members have medical conditions, also list allergies to food, fabric, medicines etc...

13. Example of a Contact Sheet

14. Example of an Audition sheet

15. SCHEDULES AND CALENDERS:
A production calendar, listing the due date for all design elements from each production department connected with the production.
Rehearsal schedule if available from the Director. You may need to assist in creating this calendar.
Miscellaneous calendar, create a calendar for costume fittings and any additional scheduled events planed by production departments involving cast or crew.

16. SCRIPT:
Entrance and exit flow chart, by page to list the actors on stage in every scene and act.
A plot progression chart, listing a general summary of the action taking place in each scene.
Blocking symbol key, The symbol used to code blocking should be placed in the book as a reference for anyone needing to decipher your blocking notes.
Enlarged copy of your script, Printed on card stock and three hole punched, justified to the left side of the page and allowing enough space to write cues in the left margin.

17. PROPS:
Prop list from the script of all items mentioned by the text, this includes food, carried on by scene and page for reference.
Prop running sheet and placement diagram of all preset props on either side of the stage. A entrance and exit chart by character and page number in script for props should be included in this document.

18. SCENIC:
Reduction of the set, 8 X 10 copy of the ground plan, include renderings and props if being built.
Furniture list from the script, all set furniture mentioned in the script, by scene and page for reference.

19. LIGHTING:
Lighting of all references to lights being turned on and off as mentioned in the script by scene and page for reference.
Information and Schedules, Channel Hook-up, Color Cut, Color Schedule, Instrument Schedule and lighting cues with line placement. If available a reduced scale light plot.

20. SOUND:
Sound cue sheet, A list of all sound cues and the placement of them in the show with line references or scenic breakdown.
Information on source, Reference any music used in the show by title, artist and original source, recordings, music, etc.

21. COSTUME:
Costume plots this list you will need to get from the costume designer. This list will break down the characters by scene and plot every item that is being worn.
Costume sketches, If available photo copy the costume renderings or photos of the finished costumes.

22. REHEARSAL REPORTS:
Rehearsal Reports, maintain a file of all rehearsal reports written from the first rehearsal through the end of tech. This report should contain the schedule of work to be covered in rehearsal. Notes to the various departments for rehearsal needs, repairs etc. Attendance of cast members, late arrivals should be noted at exact time of arrival.

23. Example of a Rehearsal Report

24. PERFORMANCE REPORTS:
Performance Reports, maintain a file of all performance reports written from the opening performance to the end of the run. The report should document the performance and contain any missed technical cues, actor mistakes, attendance and audience response to the performance and weather conditions.

25. MEETINGS AND AGENDAS:
Meetings and Agendas, copies of posted notices, agendas from all artistic concept, Production meeting and reports distributed to the persons attending.

26. MISCELLANEOUS INFORMATION
Miscellaneous Information, location, passage of time, seasonal changes.

27. PUBLICITY
Publicity, Keep a file of all press releases, advertisement, postcards and flyers of the production, if production photos are taken obtain a copies and add to this file. Also include a program of the production and the sign in sheets from the call board.