• Created by Unknown User (marvel@mit.edu), last modified by Unknown User (egillam@mit.edu) on May 27, 2021 14:52

JOB DESCRIPTION

The stage manager is responsible for all logistics regarding rehearsals and performances. The position is most easily broken into two phases: rehearsal and production.

Example emails sent throughout the entire show process (and the date they were sent) are attached Stage Manager Emails Spring 2019.docx. Click the little paperclip in the top left to view all page attachments.

Rehearsal Phase Duties

Facilitate rehearsals. This means:

  • Scheduling rehearsals. This includes when rehearsals will be, and what will happen during each individual rehearsal.
  • Take notes of what goes on during rehearsals (blocking, costume, prop, sound notes, etc.). See Callboard.
  • Maintain rehearsal props/costumes (i.e., bringing them to rehearsal, keeping them safe, letting props know if they run out, etc).
  • If actors are missing from a rehearsal, it is your job to hunt them down like dogs (ie call/text them to see where they are)
  • You need not be at every rehearsal, but it is your responsibility to make sure that an ASM is at a rehearsal if you're not.
    • Recommendation: if you are also the Production SM (you probably are), be at big rehearsals like Read Through, Designer Run, and as many Full Runs as possible to get a good sense of the show, blocking, etc.
    • Make sure that your ASMs know what they're doing. Have them shadow you (or an experienced ASM) at one rehearsal before they run a rehearsal on their own, or attend their first rehearsal.
      • Make sure to send an email with all the information about how to ASM to your ASMs. Check the email drafts document for this.

Overall, you act mostly as a liaison between the director/designers/producer(s) and the actors. It's your job to help provide communication between the actors and everyone else to ensure that everything will be ready for prod week.

Production Phase Duties

During the production phase, the SM is in charge of all logistics, including stops, starts, breaks, etc. The SM "calls" the show, meaning they give commands to the board operators and backstage hands, and give cues to the actors. The SM is the non-artistic authority starting with production week.

Detailed Job Description

Pre-production:

        Check SM kit, make sure it has all the items it should (see child page)

        Meet/talk with the producer about the overall calendar and logistics, particularly scheduling auditions

        Meet with director. Discuss audition, scheduling, and rehearsal preferences. These may include:            

    • When will rehearsals be, and how long will they be?
      • Typical Fall Rehearsals: Sunday 1-5, Monday-Thursday 7-10
      • Typical Spring Rehearsals: Sunday 1-5, Monday-Thursday 6-10
    • How many breaks in a rehearsal, for how long?
    • How would the director like to be reminded of time constraints?
    • How should actors be corrected (lines, blocking) if they mess up?
    • How should warm-ups be done? By director (or actor) at beginning of rehearsal? By each actor individually before rehearsal?
      • Warm-ups as a group may or may not happen, figure out how to balance how the director wants to do this with the fact that actors will mostly likely be popping in and our during the overall rehearsal time.
    • Work with the Director to create a rehearsal etiquette policy to be handed out to all actors at the first rehearsal.
      • We already have this (attached 9 Ways to be a Better Actor), check if the director wants to add anything.
    • Longer or more complicated scenes need more time. Ask about length/complexity of the scenes.
    • Figure out exactly when off-book date will be, and a general idea of when to have a designer run/spaghetti rehearsal.

Meet with Assistant SMs (ASMs) to discuss their roles and duties. Make sure you get their phone numbers and email address(es) at this time. You should also schedule your ASMs to rehearsals. As soon as you have a list of ASMs finalized (or generally, we sometimes have people join late), assign days to ASMs based upon their schedules.

    • After off-book date, you'll need two ASMs at each rehearsal so keep this in mind when creating the schedule that way ASMs can just add a rehearsal day rather than shuffling everyone around halfway through.

        Create SM copy of script. A few example pages are included.

If someone else is needed at rehearsal, like a fight choreographer, please contact them wayyyyy in advance. Fight choreographers need to be there to rehearse every fight, and they come back once more during tech week to oversee a fight call. For more on fight choreographers, reference this document The Fight Captain and Other Fight Notes.pdf.

Auditions:

Assist director with running auditions (the producer will also help with this). Directions are written assuming the producer is in the audition room and you are in the waiting room. If the producer is unavailable or auditioning themselves, you should be in the audition room and someone else (an ASM, a non-auditioning officer, etc.) should be in the waiting room.

        Prepare for auditions by following this process:

 

  • Schedule auditions with the director and producer
    • We typically do two evening auditions, along with another night of callbacks if the director wants them
    • Communicate with the director to see how they want to run auditions. Specifically, ask how much time they want to give each person (typically we allot 15 minutes).
  • Update the Ensemble website for auditions signups (or make sure the producer/webmaster does this)
  • Update the audition contract
    • All actors have to sign the audition contract before auditioning
    • An example audition contract for a spring/touring show (in LaTeX) is here, fall/non-touring show here (raw LaTeX files are also attached in case these links break).
    • Check in with the director to see if they have additional questions they want to add to the audition contract
  • Give people audition times! At least 2-3 days before the first audition if possible, make a schedule of who has which time slots. On their application actors will mark what times work best for them - do the best to make everyone happy (this is not always possible, though).
    • When emailing out, make sure to emphasis what they need to do:
      1. arrive 15 minutes early
      2. have their completed audition contract
      3. have a monologue prepared (it does not need to be memorized)
  • Ask the director which slides they want printed out. Print at least 4 copies of each slide: one for the actor reading it, one for you/the producer, one for the director, and one extra. If you can print more extras, do. Slides are excerpts from the play used by the director to see how an actor plays specific characters. For term shows, the director may not provide monologues initially. Ask them to, and if they have none you can pull from past productions (ask the officers to pass these along to you).
  • Print extra audition contracts, for walk-ins and people who forget theirs. An example audition contract for a spring/touring show (in LaTeX) is here, fall/non-touring show here (raw LaTeX files are also attached in case these links break).

 

During each night of auditions follow this process:

  • Show up at least 15 minutes before auditions start. Bring spare audition contracts, along with slides and anything else the director requests!
  • Set up the room. Push all tables and chairs to one side, leaving one in the center of the wall on the clear side. This is where the director and producer will sit.
  • Make sure the director knows that they should introduce themself to each actor, and do their best to create a welcoming environment in the audition room.
  • Take pictures of the auditioners. This may be useful for the director later, since faces are easier to remember than names.
  • Be in contact with the producer during auditions, via instant messaging like text or Messenger
    • The producer should let you know when to send people in. Basically, after someone leaves, the director will tell the producer when they are ready for the next person. They should relay this to you in the waiting room to send the next person in. Attempt to stick to the schedule as much as possible.
  • At the end of auditions, put all tables back.
  • Talk with the director and producer about callbacks at the end of auditions.
  • Send out emails about callback times.
Casting:

Everything that happens in the casting room stays in the casting room. Do not share casting details with anyone. No one wants to accidentally hear that they were second choice for something.

The Director will cast the show. Work with the Producer to ensure that the director follows the Ensemble's casting policy and call people to offer roles. Generally, it's good to call larger roles (ie, confirm Hamlet before you call anyone else) before smaller roles, but talk to the Director about back-up plans in case people reject roles. If the Producer is auditioning, talk to the Officers about appointing a non-auditioning Member to be part of the Casting Team to help with these things. Try to make sure the director is keeping in mind things such as cast size/doubling, as well as actors' schedules and role size preferences.

What to say when calling people:

Offer role(s)

If they don't answer:

    • Leave a message or text them asking them to call you back. Avoid giving roles over voicemail/text. As of the time of this writing, the policy is to give 24 hours to reach contact.

If they accept, give the spiel:

    • When tech week/show dates are
    • Whatever the actor requirements are, ex:
      • 6 build hours
      • Put in/strike
    • When/where read through is
    • Ask them not to share their role with anyone or on social media until the cast list is publically sent out

If they want more time:

    • Offer more time in accordance with the calling policy. As of the time of this writing, the policy is: "An actor will be allowed two (2) hours after being told their role to choose whether or not to accept it, excluding the times at which they specified they shouldn’t be called about casting. More time can be given at the discretion of the caller."

If they decline:

    • Talk with the Director about how to proceed, or call the backup. Calling strategically will help with this.

After the cast list is complete, email the cast and Ensemble with the final cast list.

If there are understudies for the campus show, make sure to meet with them and clearly establish requirements. Below are some recommended requirements for a campus understudy:

    • Participate in Put-In/Strike, as per their membership requirements
    • Memorize lines and blocking by tech week
    • Participate in scheduled understudy run throughs (Suggest at least 2, even if only those scenes in which understudies participate are run). Acting notes (from director/AD) and blocking notes (from SM) will be given.
    • If the Director so desires, they may request an additional rehearsal with the understudies.  Rehearsal of this type may not take up more than 3 hours a week unless the understudy explicitly approves of it and doing so does not detract from the on-campus performance.
    • Attend one full run/show they do not participate in to get a sense of the show
    • Shadow at least 1 rehearsal for each scene they will be a part of
    • Depending on when the Understudy is selected, prod hours can be waived
    • Depending on the size of the role, dirstaff may choose to conduct one dress rehearsal with the Understudy filling in for the main actor, or simply run the few scenes the Understudy is in utilizing the tech that will be present on the night of the show
Read-Through

You are in charge of printing scripts for read-through, unless you can get the producer or actors to do it. Printing scripts takes longer than you think! Make sure the scripts have page numbers! Give yourself more than an hour! Have the scripts ready to be printed beforehand so you don't have to deal with formatting while trying to print everything. Use the Athena cluster on the 5th floor of the student center, 'cause it has lots of printers. Print on all the printers simultaneously (or some subset of them). Print in small batches (2 to 5 scripts) so that other people don't hate you. Keep an eye out for running out of ink or paper so that you don't waste time and trees. You'll want scripts for all the actors, the director, yourself, plus a few extras for people like lights or sound who may want them. It's a good idea to also send out a digital version of the script in case people loose theirs or would rather work off an iPad or smaller pages or something.

Print copies of 9 Ways to Be a Better Actor or an updated equiette policy (attached 9 Ways to Be a Better Actor.pdf).

Update and print copies of the Ensemble Guidelines (sample attached Ensemble Guidelines.docx).

Print copies of the Ensemble's DEI policy (website is here, ask officers for Google doc verison).

Create a cast Google Drive within the show folder. Add the script, Ensemble Guidelines, 9 Ways to Be a Better Actor, and anything else you think might be useful to this Drive.

Things you should make sure you tell people at Read-Through (basically read through the Ensemble Guidelines)

    • Ensemble's DEI policy
    • Equiette policy (9 ways to be a better actor)
    • Conflict policy: You must notify the SM of your conflicts before they make the schedule. 
    • Tech week conflicts are not a thing. You should be at all tech week rehearsals. You should be skipping classes. You should be getting out of tests. If this is an issue, you should make it clear now. Make sure this is emphasized, and applies to night classes. Tell them to contact dirstaff if they need help getting excused.
    • Lateness policy: Tell people what your lateness policy is, and then stick to it.
    • The ensemble runs on real time. Call at 8pm means that you're there and ready to go at 8pm, not that you're walking in the door at 8:05.
    • Notify the SM of the day if you're running late
    • give everyone the web address for Callboard
    • give everyone the e-mail address for the SM list (emphasize that this should be the address they e-mail, not the SM's personal e-mail)
    • the 15 hour per week policy: Make sure to tell the SM if you've been scheduled for more than this limit
    • remind people when off book date is and encourage them to work on lines before then

Things you should do at Read-Through

    • Make all the actors and the Director fill out the Contact Sheet with their email and phone number
    • Keep track of scene length
      • Have a timer going and note down how long it takes to read each scene/subscene

Rehearsal period:

While the director is in charge of the creative aspects of rehearsals, you are in charge of making sure rehearsals run smoothly. To make this happen, you should do the following:

    • Help run rehearsals.
    • Keep track of scheduling
    • Take down blocking in SM script copy. Always take down in pencil as everything has a tendency to change.
    • Unless the director does not want the set to be taped out for a specific rehearsal exercise, tape out the set after it's finalized. Make sure actors have access to the set design in the drive.
    • Keep track of props/set/costumes- note any new changes or director notes
    • Be on-book for actors. (when they say "line" give them their line)
    • After rehearsal, put things away as necessary. The SM is responsible for securing all rehearsal items and the rehearsal room.
    • Write a rehearsal report. An example is attached. This helps the prod staff keep updated on new items they need or constraints on items they know about.
    • Check in with ASMs often, especially if they are running rehearsals on their own, and/or are new to SMing.
    • Attend Production meetings
Scheduling:

Scheduling is by far the worst, but most important, part about stage managing. No two SMs schedule the same, so there is not a preferred way to do it. In general, though, here are the things you need to know:

    • The first one to two weeks of rehearsal will be table work. You can probably schedule all of these at your first scheduling session. Make sure every scene/subscene gets scheduled at least once. 
    • The rest of the rehearsal time will be for blocking. Again, try to schedule each scene at least once before scheduling the same scene again (unless requested to by your director). 
    • You are in charge of scheduling, meaning you are in charge of what the director gets to do each day. Make sure you communicate with the director to see what they want to do.
      • If the director can give you their preferences in a timely manner, take them into account. However, you should try to get the schedule out at least 3 days in advance, and prioritize that over a director's last-minute preferences.
    • Ask the producer if they can find you a scheduling assistant, especially if you are SMing alone. They will make your life so much easier.

Scheduling goes a lot smoother if you have a master spreadsheet, or something else to organize all of the information you're going to need to keep track of. Everyone organizes theirs differently, but it's good to keep track of:

    • Actor's conflicts
    • Which characters/actors are in which scenes
      • This includes both speaking roles (who will need to be at tablework rehearsals) and non-speaking roles (who will need to be at blocking rehearsals)
    • How long each scene is and how long the director wants to rehearse a scene
    • How much each scene has been rehearsed
    • If the director has requested more rehearsal for a specific scene
Setting up rehearsal:

Make sure you and your ASMs are on the same page about how rehearsals should be set up.

    • Arrive early to rehearsal, at least 15 minutes.
    • Set up the room as needed.If it's locked, call CAC to get it unlocked. (617-253-1500: ask to speak to the CAC manager on duty. Program this into your phone NOW. Do it. Go.
    • Tape down the set lines (once we have a set). Start doing this as soon as you have a set layout. It will help the actors a lot later
    • Set rehearsal props/costumes.
    • For table reads, make sure you have enough chairs and tables.
Making sure people are on time:

One of your tasks it to make sure actors arrive on time to rehearsals, and track them down if they don't. Some tips for making sure people arrive, and arrive on time:

    • Send out a reminder e-mail daily. If you don't want to send out daily reminders, send out reminders for any rehearsal that's been changed recently, or is at an abnormal time/day. (This is also a good duty for an ASM to take over)
    • Call actors who are more than 5 minutes late (or late at all, if you want). Leave messages even if they aren't there (guilt trips).
    • Keep a spreadsheet of how often people have been late or their total amount of lateness. This makes for great guilt trips (especially if you send out weekly e-mails declaring who's the latest person overall, or give some other punishment). (Make sure the ASMs are using it too: google docs are great for this)
    • Put actor's phone numbers in your phone. It will save time in the long run.
    • If someone is chronically late, it's okay to call or text them before rehearsal starts to make sure they're on their way
    • If someone is really late, send someone looking for them. A good way to start with this is to call someone you know if their dorm, and have them knock on their door. Have someone check lounges, friend's dorms, boy/girlfriend's room, the student center, and anywhere else they might be. 
The Props Cart

You likely won't have props until a couple weeks into the production, but as soon as you have rehearsal props you should start using them.

    • Use a shopping cart to carry props to rehearsals
    • Make sure you know why each thing in the cart is there. If there's a prop in the cart and no one's using it, figure out who should be
    • Put small items in a box so that they don't fall out of the large holes in the cart
    • If you have a lot of props, make a separate box/bag with stuff that the SM needs (tape, pencils, tape measure, SM binder, etc) so you can find it all without digging through props
Line notes

Line notes are essential for actors who are making mistake on their lines to fix them without derailing a rehearsal. Use a spreadsheet with conditional formatting set up to color-code the lines; ask an officer or past SM to share with you line notes from a previous show to use as a template.

    • Start taking line notes as soon as the actors go off book
    • Make sure two people (2 ASMs or you and an ASM) come to rehearsal so one person can take line notes while one focuses on rehearsal
    • Write down as many notes as you have time for
    • If someone is making the same mistake over and over, tell them (in case they don't read the notes *gasp*)
    • Try underlining everything that people mess up, and showing them after the rehearsal is over, so they get instant feedback as well as detailed feedback
    • Send out the notes as soon after rehearsal as possible

Before Production week:

Ask your director for input on set transitions. If the director has no artistic input, ask the set designer for an outline of transitions. Assign these to actors.

Assign run-time jobs. Things that need to be assigned include:

  • Clean the stage - Sweep the stage before each run and make sure there are no wet or slippery spots. If there is blood in the show, wipe the blood splatters off the stage immediately after the run/perfomance to avoid stains.
  • Clean the audience - Make sure the audience is clean before house opens each night. This means all cast/crew belongings, trash, old programs, etc. should be cleared.
  • Clean the dressing room - Make sure stray personal belongings (especially food and non-water drinks!) don't get left behind in dressing rooms after runs. Help make-up clean up supplies and help costumes tidy the laundry piles. 
  • Laundry (assign multiple people if play involves blood) - Not all costume pieces get washed: there should be a specific laundry pile in the dressing room(s) and you should only wash those. Wash laundry-specific costume items three times: after final dress, after the first weekend of shows, and after closing night - if the show has blood, laundry should be done between every run/performance. You can get reimbursed for this, ask the dirstaff (request@) for help! 
  • Props (as necessary) - Make sure props are clean and not breaking after every run. Ask the props designer for instructions on what they want you to do, because props can be very fragile. If there is blood and swords in the show, wash the blood off the swords (including the handle if needed) immediately after every run. If you notice anything is broken, email the props mailing list. 
  • Candy for dressing rooms - Buy a lot; actors are hungry. You can get reimbursed for this, ask the dirstaff (request@) for help! The only rules are:
    • ask for allergies in the cast
    • don't buy chocolate! 
  • Water for dressing rooms - Buy a lot (1 bottle per actor, and a jug for refills); actors are thirsty. The PJ-Way is to buy bottles and number each bottle cap so actors can place the bottles wherever they want, and they only have to remember what number is theirs. You can get reimbursed for this, ask the dirstaff (request@) for help! 
  • Silence doors - Using tape, attach wads of newspaper over the latches of a door so it can't click/lock and so that the door closes as silently as possible. Do this to all the doors leading from backstage to the dressing rooms(s) and/or bathrooms, or similar doorways. After the run/performance, take these off so we can secure the premises. Ask the SM/ASM if you need help understanding how, or if you don't know which doors to silence. 
  • Warm ups - Get people warmed up for the show: nice and toasty! Ask previous morale people for institutional memory, and you can always email dirstaff for help. We usually start with syllables, tongue twisters, and resonators. Projection exercises are also very good. Then we move on to games focused on getting comfortable on the stage and thinking on the spot, such as free play, 5 things, I'm a tree, improv scenes, etc. 
    • Start on time, every time! You are in charge of showing up and shepherding the flock of actors into getting ready. 
  • Morale - Get people hyped up and focused for the show! Ask previous morale people for institutional memory, and you can always email dirstaff for help. We play games, common ones are: five things, bunny bunny, wa!, category tag, counting games, etc. and we always end in "take pains."
    • Be flexible! If something goes over time, morale is the section that gets shortened to compensate. 
  • Fight captain - You should have fight experience, but shouldn't be in too many fights yourself. Attend some fight rehearsals before tech week. Make a list of every fight and which actors are in it, and run the list in whatever order is best/optimal before every show. You are in charge of fight call (which is right after warm-ups) and you should run every fight in the show. For small fights, you can run them just once; for more complicated fight choreo, run through each fight in increasing speed percentages (50%, then 75%, then 95% or something similar). The most important thing is making sure everything is done safely and that every actor involved feels comfortable. Never do a fight at 100% speed during fight call, because actors will always do it faster during a real performance than during practice!

More jobs can be added as necessary to make the number of jobs equal the number of actors.

Ask for job preferences, and assign in order of seniority, with Ensemble members first. Ties are decided by who has done the most shows with Ensemble.

Run Crew: Get some. More details here.

Ushers: Get some. At least one per night. 2 or more if seating is mildly complicated or confusing. Work with the producer to get these (along with getting run crew).

Production week:

The show now belongs to you. Oh, the power...

During prod week and the run, you control everything. It is your responsibility to make sure that you get into the performance space every night, and that it's secured when you leave. Your word is law. When you decide the show will start is when it will start. You have to coordinate the actions of the cast, crew, house manager, ushers, audience, etc. Again, you need to make sure that everyone that's supposed to be there is there. You call the show. You tell the light board-op when to hit the button. You tell the sound board-op when to hit the button. You tell the stage crew when to move the button (or table, or chair, or flat, or elephant, whatever!). If anything goes wrong, it's your call on what to do, who to call, and how to fix it, so be prepared to make split-second decisions about what should happen in case an actor takes your pre-show comment to heart, and really does break his leg.

Make sure you talk to your sound and light board-ops about what they need you to do before each tech rehearsal and show, and add those things to your checklist (see below).

Make sure you remember to bring the SM Bag and that the first aid kit is backstage in the performance space during performances.  Also, post in the dressing rooms who will be in booth what days so that people know who to contact in case of problems/questions that need immediate lights/sounds help.

Sit back, relax, and enjoy the show that you've seen at least a thousand times already (maybe not, but it feels like it) and watch how your audience responds to the production that you got to see take form from beginning to end. Have fun!

Dry Tech or Papertech

Dry tech generally happens the Friday or Saturday before tech week starts. This is where the director, the SM, the Light Designer, Sound Designer, and other relevant designers (ie. video) get together to finalize cue positioning and length. Each designer will name each cue, and tell you when it must be called. Then they will set its length. At this time all of the cues should be put into the SM book, which is what you'll use to call from.

            Dry tech:

                Get all cue numbers/names from designers
                Mark down all cue placement in SM book

If at all possible, run cues without actors (it will speed up Q2Q)
                The props table should have been created by the props folks. If not, create it now. (complain later)
                Put glow tape on all stairs and any corners. Look for "actor traps" and glow tape/repair them.
                Get run job list from officers, and post in the green room
                Post sign-in sheets in green room
                Post scene list (if needed/desired) in green room

If there are lots of transitions, create a chart of what happens during each transition, and who's doing what. Post it everywhere (green room, backstage)

The SM clipboard

Admit it, a clipboard will make you feel extra cool, plus it will provide a place to put stuff without carrying around the whole SM binder now that you need to more a lot more. Some stuff to put on it:

     -The nightly schedule of what happens when (call, house opening, etc.)

Sample Schedule for an 8pm Show:

    • 6:00 - Call (make sure all the actors are there!)
    • 6:05 - Warmups
    • 6:30 - Fight Call
    • 7:15 - Morale
    • 7:35 - Open House
    • 8:05 - Start Show!

     -All of your actor's phone numbers and room numbers (you can also use this list to keep attendance and figure out who's missing

     -A list of who is your run crew/house manager/box office manager/etc. each night. And their phone numbers.

     -A list of anyone who might be willing to sub for run crew/ house manager/etc. if they go missing. And their phone numbers.

     -A blank sheet of paper, for taking random notes

     -A pencil

     -A time keeping device. (okay, I admit, it's hard to attach a clock to a clipboard. But make sure you have some kind of time keeping device with you. If it's your phone, just set it on top of your clipboard)

  (these checklists are everything that needs to happen. Delegate to your ASMs!)

Tech Week Emails

At the end of each day of tech week, meet with the director to go over notes. Write these down. Send an email out to everyone with these notes.  

        MONDAY: Q2Q

Monday (or possibly Sunday) is cue-to-cue (Q2Q). This is the design staff's only* opportunity to set when cues are called, how long they are, what they look like. It is usually the first time you're in the performance space. And it's the first time with the sets and props. Actors don't like Q2Q, but that's okay - a good Q2Q will make the rest of prod week go SO SO SO much more smoothly. So use it well.
(*of course, things change during the week. But ideally as much should be done as possible on Q2Q so that the other rehearsals really can be runs)

Q2Q: Again each cue is run, this time with actors. The actors should be given some time to walk around the set to get used to things. During Q2Q, all tricky entrances/exits and all scene changes should be rehearsed until you are confident that everyone can do them well. (usually this is a no-brainer, since they usually coincide with light cues, but not always, so be sure to get them all). (Alternately, if your run crew won't stay the same throughout the run, skip set changes for Q2Q but spend 10 minutes on them at each dress rehearsal and (if needed) before each performance. Your actors may hate you, but your audience will be happier. )

Standard Terminology:

  •     Standby= I’m going to call a cue soon (should require a response from the person you’re giving the ready to. i.e., SM: “standby lights 143” Light board op: “lights standing by”)
    • Note that multiple cues can be on standby if they are done in quick succession or are called at the same time.
    • Example: SM: "standby lights 53, sound 25". When it's time to call the cue, SM: "lights and sound go"
    • Example 2: SM: "standby lights 5 through 7". If a lot of cues are on standby because a section of your show has many in a row, it may be helpful to let your lights and sound boards know when they are done with standby. Make sure everyone is clear about what's going on.
  •     Go= start from where I told you to start from
    • Put a subject before "go" - i.e., "actors go" or "sound go". That way the light board op doesn't get confused (for example). BE CONSISTENT. You can say “elephant” instead of "go" if you want, just as long as you’re consistent.
  •     Hold = stop exactly where you are, don't move, don't talk
  •     Restore = go back to where we started from before

The big thing to remember about Q2Q is that it's your last real opportunity to practice the logistical side. If you want to run something again, run it again. If you're confused about something, ask, and get clarification. Your goal should be to have Monday's run be as smooth as possible.

                Meet with everyone, go over terminology and schedule
                Give actors time to explore stage/set

               If cues have not been programmed, program each act (1-5) while actors take a break, then run that act, then program the next act. 

Run each cue sequentially from the beginning.
                Before running each cue, state where you'll be starting from. Be sure everyone knows (is listening, can hear) (Cultivate a good projection voice)
                Be forceful with your "go/hold/restore"s.

                When in doubt, run it again.
                Call CAC (3-1391 or 3-1500 or 617-253-1500) to close the space. You must be sure it's secure before you leave! You are responsible!

Communicate frankly with your actors regarding your progress. Break for dinner. Make a plan for how much time to give each act and stick to it, even if lights wants to program one cue for 30 minutes.

        TUESDAY: Tech Dress

            Call CAC (617-253-1500) 1 hr before rehearsal to open room.
            Fix any notes from the day before (e.g., new glow tape)
            Give everyone time to places, and do it frequently. Adjust as needed.
            Make sure everything is preset
            Make sure boards have control of lights/sound
            Make sure sound/lights have run a check
            Make sure space is secure before leaving for the night

        WEDNESDAY: 1st Dress

            Call CAC 1 hr before rehearsal to open room.
            Fix any notes from the day before (e.g., new glow tape)
            Give everyone time to places, and do it frequently. Adjust as needed.
            Make sure everything is preset
            Make sure boards have control of lights/sound
            Make sure sound/lights have run a check
            Make sure space is secure before leaving for the night

        THURSDAY: final dress (performance conditions)

            Call CAC 1 hr before rehearsal to open room.
            Fix any notes from the day before (e.g., new glow tape)
            Give everyone time to places.
            Make sure everything is preset
            Make sure boards have control of lights/sound
            Make sure sound/lights have run a check
            Make sure everything is out of the house before you open house.
            Make sure space is secure before leaving for the night

    Performances:

        Go through your checklist
        Meet with house manager (HM), go over procedure
        Meet with ushers, tell them when (if) to let in late comers
        Open house 30-15 min before curtain - coordinate with HM
        Close house 5 min after curtain or when HM says is ok - whichever is later.
        Take cash box/reservations book at intermission
        Make sure space is secure before leaving for the night
 

USING CALLBOARD

See "Webmaster" (Term Jobs) for details.

 

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