STAGE MANAGER

THE JOB DESCRIPTION FOR THIS POSITION WILL INCLUDE THE CURRENT CANADIAN ACTORS’ EQUITY AGREEMENT, AND WILL REQUIRE THE SIGNING OF A CONTRACT.

No job description can thoroughly describe the multitude of areas for which the STAGE MANAGER is responsible.

The STAGE MANAGER is the checkpoint for all aspects of the production. They are accountable for the smooth run of the show once the dress rehearsals have begun. The STAGE MANAGER is also the official channel of communication from rehearsal to the technical and design staff.

Additionally, the STAGE MANAGER maintains the production mechanism during rehearsals and performances. They are responsible for the movement of all performers, sets and props, on and off the stage, and for communication with the operators and crew who work the stage (sound, lights, flys, stage crew).

Although it is the job of the STAGE MANAGER to co-ordinate all areas of the production, they do not need to call the cues for every show. It is essential that the ASSISTANT STAGE MANAGER be able to call the show in the event of an emergency and, during most runs, may, in fact, call at least one matinee. Notwithstanding the above, the STAGE MANAGER, in consultation with the Resident Staff, may decide, for operational reasons, to call all the shows themselves.

If the season is repertory in nature, or the production is sufficiently large in scale, the position of PRODUCTION STAGE MANAGER may be created for a senior stage manager responsible for managing and scheduling a multi-member stage management department. This individual usually stage manages one show, but is involved in the delegation and organization of all stage management duties for designated productions, both in rehearsal and performance.

There is no job description for the ASSISTANT STAGE MANAGER as duties are dependent upon the working style of the STAGE MANAGER and the scope and scale of the production.

The four positions of STAGE MANAGER, PRODUCTION MANAGER, TECHNICAL DIRECTOR and WARDROBE SUPERVISOR make up the management team of each production and all information should be shared equally. Further, the STAGE MANAGER works closely with the COMPANY MANAGER, who is responsible for the emotional and physical well-being of the cast and artistic staff outside of rehearsals and performances.

Responsibilities will include, but not be limited to:

BEFORE REHEARSALS BEGIN

• Sets up the audition room, and in conjunction with the DIRECTOR, ensures the smooth flow of the audition process; assists the DIRECTOR where possible
• Becomes thoroughly acquainted with the play and the DIRECTOR‘S concept
• Becomes thoroughly acquainted with the Canadian Actors’ Equity Agreement
• Examines the venue and rehearsal hall and becomes familiar with the house, backstage areas, dressing rooms, exits, emergency lights, fire extinguishers, telephones, etc.
• Assembles and maintains an up-to-date prompt book, which should include the script, and all blocking notes, plots, drawings, reports, records and cue sheets necessary to the artistic and technical operation of the show
• Obtains all original and revised set plans and section drawings to ensure accurate blocking
• Tapes an outline of the set on the rehearsal hall floor; revises as necessary
• Assembles and distributes a CAST LIST and contributes to the accuracy of the COMPANY LIST, produced by the COMPANY MANAGER
• Ensures the production callboard is established and maintained, in conjunction with the PRODUCTION MANAGER
• Contributes to the creation of a detailed MASTER PRODUCTION SCHEDULE with the PRODUCTION MANAGER, TECHNICAL DIRECTOR and Resident staff
• Explains clearly and concisely to the ASSISTANT STAGE MANAGER what his or her duties will be
• Contributes to, in co-operation with the DIRECTOR and COMPANY MANAGER, the establishment of rules for rehearsal format and breaks, using the Canadian Actors’ Equity Agreement as a guideline

REHEARSAL AND PERFORMANCE PERIOD

COMMUNICATION AND PAPERWORK

• Acts as liaison between the DIRECTOR and DESIGNER and the technical staff; ensures PRODUCTION MANAGER and TECHNICAL DIRECTOR are equally informed of any pertinent production information
• Creates and distributes or posts the WEEKLY and DAILY REHEARSAL SCHEDULES, after consultation with the DIRECTOR; this information may be included on the WEEKLY and DAILY SCHEDULES produced by the PRODUCTION MANAGER
• Responsible for the DAILY SCHEDULE once the show opens
• Organizes, with the Wardrobe Department, a costume fitting schedule, and posts same
• Establishes, with the DIRECTOR, a common language for blocking notes and maintains same; ensures accurate blocking notes are taken and understood by the ASSISTANT STAGE MANAGER
• Establishes a prompting policy with the DIRECTOR and maintains this throughout the rehearsal process; prompts the actors accordingly, or delegates this job to the ASSISTANT STAGE MANAGER
• Prepares and distributes, as necessary, scene/character breakdowns, prop and scenery tracking lists and any other co-ordinating paperwork appropriate to the production
• Prepares, distributes, maintains and updates cue, prop and costume lists
• Documents scene changes
• Documents all parts of the production that may required action by the Production staff, and communicates all changes in the DAILY REHEARSAL NOTES. These notes are to be distributed by 9 am the next day. Face-to-face follow-up is required for all notes
• Times the lengths of scenes, scene changes, acts and intermissions
• Gives HALF-HOUR, FIFTEEN MINUTES, 5 MINUTES and PLACES calls to cast and crew during dress rehearsals and performances; ensures operators are standing by prior to the start of the rehearsal or performance
• Prepares pre- and post-show checklists for various departments, as necessary, and ensures these tasks are competed
• Informs actors of the location of props or scenery and any changes to these locations that may affect them
• Organizes, after the cuing sessions and prior to the Q – to – Q rehearsal, a PAPER TECH meeting with the TECHNICAL DIRECTOR, DESIGNERS and operators to run through show order, cuing, and show procedures
• Calls and chairs a meeting of all operators to discuss headset etiquette
• Calls cues to the operators, as necessary, throughout the technical, dress and performance periods
• Ensures the DIRECTOR’S intent, action and blocking are maintained by the cast and crew throughout the run of the production; gives notes, judiciously, with tact and diplomacy, when things begin to “veer off course”, as permitted by the DIRECTOR

RULE ENFORCEMENT AND DISCIPLINE

• Ensures that a discussion about the agreed-upon Equity-based rules, obligations and discipline takes place at the first rehearsal
• Calls a cast meeting to elect an EQUITY DEPUTY; ensures this individual is briefed on the duties involved
• Enforces rules for rehearsal format and breaks, using the agreed-upon Equity-based rules; reports discipline problems to the COMPANY MANAGER
• Sets a “Visitors in Rehearsal” policy with the DIRECTOR, and screens visitors accordingly
• Enforces rules regarding eating, drinking and smoking in rehearsal and stage areas; strictly enforces rules of NO eating, drinking or smoking in costume
• Takes all necessary precautions to ensure that safe, uncluttered and clean conditions exist on stage, backstage and in the rehearsal hall as required in the “Safe and Sanitary” section of the Canadian Actors’ Equity Agreement; this may include such things as the placement of glow tape on the set and floor
• Maintains backstage discipline; keeps cast and crew quiet; enforces safety regulations and prepares INCIDENT REPORTS for the PRODUCTION and OPERATIONS MANAGER, as necessary
• Leaves the rehearsal and performance areas in safe and clean order after use
• Creates, posts and monitors a SIGN-IN SHEET for actors and crew during performances; knows where actors are at all times during rehearsals
• Accounts for all actors prior to rehearsal and performance (at the HALF HOUR call)
• Establishes, with the Resident Staff, TECHNICAL DIRECTOR and FRONT OF HOUSE MANAGER, emergency procedures to be followed in the event of a fire alarm or other unforeseen circumstance; ensures all personnel understand their role

FRONT OF HOUSE/ PUBLICITY LIAISON

• Establishes, with the FRONT OF HOUSE MANAGER, a procedure for opening the house and running intermissions; ensures the PRODUCTION and OPERATIONS MANAGER is briefed on the stage/house hand-over procedure
• Gives the FRONT OF HOUSE MANAGER permission to open the house, after checking with the TECHNICAL DIRECTOR and STAFF to make sure all departments are ready
• Identifies to the FRONT OF HOUSE MANAGER any areas which may require special attention by the ushering staff (actor entrances or equipment in the house)
• Co-ordinates, with the DIRECTOR, HEAD OF PUBLIC RELATIONS, PUBLICITY MANAGER and COMPANY MANAGER, the staging of scenes for the PHOTO SHOOT
• Collects, from Front of House and Box Office, house counts for inclusion in the SHOW REPORT

GENERAL

• keeps an up-to-date TO DO list
• operates, or delegates the operation of, audio/video players/computers during rehearsal
• arranges for the booking of, and access to, rehearsal space as necessary
• assigns dressing rooms, in consultation with the DIRECTOR, as facilities permit
• arranges for the collection and safe storage of actor valuables
• keeps a stocked First Aid kit available at all times, and prepares INCIDENT REPORTS for the staff TECHNICAL DIRECTOR and PRODUCTION and OPERATIONS MANAGER, if necessary
• ensures that there is fresh water, cups, kleenex and pencils in rehearsal at all times
• arranges for a sweep and mop of the floor before each rehearsal and performance
• calls and chairs a “paper tech” meeting at which all management staff, Designers, and operators talk through the show, cue by cue

SPECIFIC RESPONSIBILITIES AT…

CUE SETTING SESSIONS

• Attends all lighting and sound cue setting sessions
• Arranges for a LIGHT WALKER with the TECHNICAL DIRECTOR and PRODUCTION MANAGER (if possible, the ASSISTANT STAGE MANAGER should do this as they are familiar with the blocking)
• Sits with the DIRECTOR and LIGHTING/SOUND/PROJECTION DESIGNER and accurately records, in the prompt book, the location, timing and content of each cue
• Announces scene changes, blocking moves and blackouts, using the VOICE-OF-GOD MICROPHONE, if necessary

NOTE: The organization and progress of cue setting sessions are the responsibility of the DESIGNER and the DIRECTOR. The PRODUCTION MANAGER will deal with scheduling constraints. The STAGE MANAGER’S main concern is the accurate recording of cues

Q-to-Q and TECHNICAL REHEARSALS

• Ensures all departments have accurate and up-to-date cue sheets
• Organizes the content and order of the rehearsal with the DIRECTOR and TECHNICAL DIRECTOR
• Controls the pace of the rehearsal and ensures that all cast and crew members are comfortable with set/fly movement, lighting changes and any other cue concern
• Establishes and enforces a professional communication standard on both the headset and backstage paging system

STAGE MANAGEMENT CALLS

At 30 minutes prior to curtain, the Stage Manager or Assistant Stage Manager will announce the HALF HOUR. A second announcement will be made at 15 minutes to curtain, a third call at 5 minutes, and a PLACES call at approximately 2 minutes to curtain.

The PLACES call is the on-stage please, call, and means that all performers are to be in their places ONSTAGE or in the wings for the top of the show.

Technicians are to be in their places and ON HEADSET at the 5 minute call, unless otherwise informed.

STRIKE

• cleans dressing rooms and ensures personal belongings are removed
• ensures that all tape has been removed from the rehearsal room and stage floor
• attends strike as a crew member, once above duties are completed
• ensures the crew is made aware of any strike parties

AFTER CLOSING NIGHT

• submits to the PRODUCTION and OPERATIONS MANAGER the complete prompt book for the Theatre School archives
• attends and participates in the Post Mortem
• submits written evaluations for all production staff no later than the start of the Post Mortem

This information is intended as a guideline only. It is not intended to replace the required reading or research in your area, or information gained in the classroom.

The demands of this position, and the hours worked, will vary with each production

THE DUTIES AND RESPONSIBILITIES OF THIS POSITION MAY BE ALTERED WITHOUT NOTICE BY THE RESIDENT STAFF AND FACULTY