Deputy Stage Manager

Stage Management 2: Deputy Stage Manager Handbook RSAMD Technical & Production Arts
Course Handbook
Updated: 20.01.2005 Year Two The DSM Stage Management 2 Unit number: TPA SM2/EU Level: SHE2
John Wilkie 2005
Deputy Stage Manager
D S M
Stage Management 2: Deputy Stage Manager Handbook Contents
Unit Descriptors
Introduction The SM Team DSM Qualities The Acting Process Communication & Interpersonal Skills Organisational Skills Repertory Production Timeline Stamina, Patience & Concentration 3 4 5 6 7 8 9 10
The Rehearsal Process

Tools of the Trade The Read Through Preparing the Rehearsal Room Compiling the Book Rehearsal Notes Company Rehearsal Call Sheet Cast Availability Chart Personal Timesheet Cast Timesheet Rehearsal Management Blocking 12 13 14 15 19 21 22 23 24 25 25
John Wilkie 2005
Stage Management 2: Deputy Stage Manager Handbook Blocking Notation Examples Number Referencing Sectioning the Page Rehearsal Provision Time Keeping Equity Production Meetings Production Minutes Working the Script Prompting Line Runs Provisional Settings List Provisional Running List Provisional Fly Plot Provisional Sound List Example of a Provisional Running List Example of a Provisional Fly Plot Example of a Provisional Sound List 27 29 30 31 32 32 35 36 38 38 39 39 44 44 45 46 47 48
Production Week
Fit Up LX Rig LX Focus LX Plot 50 50 50 51
John Wilkie 2005
Stage Management 2: Deputy Stage Manager Handbook
Adding Cues Example of a Prompt Book Information Page Example of a Prompt Book Script Page Taking a cue from Blocking Backstage & FOH Calls Standard Backstage & FOH Calls Technical Rehearsal The Prompt Desk Operating the Desk Etiquette on Cans Holding Restarting Dress Rehearsal Anticipating Cues The Show Report Example of a Show Report The Run Setting Up, Checking and Starting the Show Opening Night
51 52 53 54 55 56 58 59 61 62 63 63 64 64 65 66
68 69
John Wilkie 2005
D.S.M. Deputy Stage Manager
John Wilkie 2005
Stage Management 2: Deputy Stage Manager Handbook Introduction Huddled in a dark corner, night after night, sometimes for weeks on end, a solitary figure sits, cowering over a large folder. Their unfaltering focus on the pages in front of them is broken only when they must reach out to the array of green and red lights that sit above the book that they are so engrossed in. The pages of the book are littered with a bewildering selection of symbols, cross references, strange text and diagrams. Sometimes they are heard to mutter to themselves in a language that few can comprehend, an odd mixture of abbreviations and numbers. Then suddenly, these numbers are repeated and a sequence of green lights flash on and off on the console in front of them. To their right, onstage.everything changes To an outsider, looking in for the first time, the role of the Deputy Stage Manager must seem to be darkly esoteric. Little do they realise the amount of work that goes into getting to the point mentioned above. Weeks of rehearsals and planning, followed by an exhausting Production Week in which the rehearsal process finally transfers to the stage, all culminating in an opening night of performance. The DSM represents the only constant link between rehearsals and all of the backstage departments that work towards the Directors vision. It goes without saying that excellent communication skills are therefore crucial. However, the role encompasses much more than simply passing on information from A to B. A good DSM will act as recordkeeper, organiser, technical consultant, prompter, peace-keeper and motivator. Being the only member of the technical team present on a daily basis, in the rehearsal environment, the DSM role can often be an isolated one, but this need not be the case. An understanding of how the Director, Script and Actor works can make the job easier and a lot less segregated. Depending on the relationship created between the DSM and the Director (perhaps developed on previous productions), a DSM can also, from time to time, contribute towards artistic decisions that arise in rehearsals. Different Directors have different expectations of a Deputy Stage Manager. Some prefer the DSM to simply take notes and be little more than a silent secretary to them, others may utilise them to such an extent, that they are more akin to Assistant Directors than simple note-takers. Whichever type of Director you work alongside, the fact remains that the DSMs role has changed over recent years. It has evolved to encompass a wide range of skills which are as variable as the environments that we endeavour to realise.
John Wilkie 2005
Stage Management 2: Deputy Stage Manager Handbook The SM Team The place of a Deputy Stage Manager can often feel apart from the rest of the Stage Management Team. This is mainly due to the fact that the DSM works for a great part of his/her remit in rehearsals and away from the general throng of Technical Backstage proceedings. Below (Fig.01) shows the DSMs place within a standard Repertory Theatres SM team structure Stage Manager
Deputy Stage Manager
Assistant Stage Manager
Assistant Stage Manager
Fig.01 Sometimes you will find yourself working alongside a second DSM, which is also quite common. Normally you will be expected to alternate shows with your fellow DSM. This is particularly common in a Repertory set up as one show will be rehearsed during the day and another will be in performance in the evening. Not all Theatres can afford this luxury however, and you may find yourself to be the sole DSM within the department, usually you will be responsible for rehearsing the larger shows in the companys season, with both of your ASMs alternating the others. This system is a great way for ASMs to gain experience on The Book and hopefully make the transition to DSM themselves in the future. Sadly, this self-nurturing system is not used as often as would be liked. A Step Up and to the Side The progression from ASM to DSM and then eventually to SM is not a plain and simple linear advancement but more of a step forward and then to the side. There is very little in the standard ASM remit that will ready you for your first day in rehearsals as a DSM, apart from a basic knowledge of technical theatre gleaned through experience and more obviously, any Books that you have undertaken as an ASM on the Book. More similarities can be found between the remit of an ASM and SM than with that of the DSM. A common misconception of a DSM is that they are only concerned with being on the Book throughout the production process. A DSM should be available to join the SM Teams day to day work whenever they are not required in the rehearsal room (which isnt often). This may include propping, deputising for the Stage Manager etc
John Wilkie 2005
Stage Management 2: Deputy Stage Manager Handbook Qualities There are a number of basic qualities that are essential to a DSM, they are as follows Versatility. An understanding of the Acting process. Excellent Communication and Interpersonal Skills. Organisational Skills. Stamina, Patience and Concentration. Versatility Of all the skills required by any SM Team member, I regard this as being the most crucial, particularly in the case of a DSM. Being the sole manager in rehearsals it is imperative that the DSM be proficient in adapting to situations quickly. A vast and diverse host of problems arise on a day to day basis and either having the confidence to solve these problems or know who can, will, in most cases, make the differemce between a good and average DSM. These issues can arise at any time and can be anything from a cast members personal problem to whether the Set needs re-designed or not. Due to the diversity of this particular job role, contracts tend to be fairly open to interpretation and most clauses will simply state as required somewhere in them. However, as with the rest of Stage Management, we are protected by the rulings of the Equity Union and is the only protection we have from unscrupulous employers. I will endeavour to explain more about the workings of Equity in a later chapter. Versatility, as I have hinted at earlier, is the key to being a successful manager. Excellent organisers do not always make excellent DSMs or SMs. Where organisation is important, especially when pre-planning, the ability to make snap decisions under pressure can ultimately make the difference between whether a production is successful or not.
John Wilkie 2005
Stage Management 2: Deputy Stage Manager Handbook The Acting Process

"Thinking is easy, acting is difficult, and to put one's thoughts into action is the most difficult thing in the world. Johann Wolfgang von Goethe
An understanding of the Acting process is also vital to becoming a successful DSM, more so than from any other technical department. The details of this can be found in a later chapter but to generalise greatly there are a view points which should be raised here. Whether the performer(s) that you are working with are street jugglers, rock stars or Opera singers, the same rule appliesthey all have to maintain a high level of concentration in order to perform their individual genres to a standard that the production requires. When this concentration is broken, for whatever reason, the actor may then slip into stereotype. Add the stress of a fast approaching opening night, hard to find character, thousands of words to learn and a bundle of props that they havent yet seen and you have all the ingredients for a major blow-out! Oh yes..and they also keep us all in jobs! Without the performer the soul is taken out of any production and all you are left with is theatrical trickery. Every member of every Technical Department represents their own department by facilitating and enhancing the performer. As the DSM works more closely with the Cast & Director than any other individual backstage, an understanding of the acting process is crucial. Here are a few commonly used acting terms that may be of interest.. Drying When an actor forgets his lines. Prompting Throwing the actor a line (usually the DSMs role) when he has dried. Line! The most common way for an actor to alert the DSM that he/she has forgotten their line. Less commonly used terms are, Prompt!, Yes! and F*^k it!! Corpsing Uncontrollable fits of laughter by an actor (usually due to another actors improvisation). Blocking The moves that actors make within the performance. Motivation The reasons given towards making a character whole, realistic and believable. Business When an actor uses a prop or has non-spoken sections in a play where action replaces dialogue. Improvisation When an actor reacts to or creates a non-scripted section of the production in a spontaneous fashion. Rehearsal Skirt A skirt used in rehearsals, usually to represent a period style garment. Rehearsal Shoes Similar to Rehearsal Skirt but with shoes instead. Fluffed A slightly more effeminate way of referring to a missed/mixed up line. On the book A large part of the rehearsal period when an actor has yet to memorise any of his/her lines. Off the book When an actor manages to memorise all of their lines and no longer needs to constantly refer to the script in rehearsals. Character The culmination of all of the actors work thus far. A made up persona.
John Wilkie 2005
Stage Management 2: Deputy Stage Manager Handbook When an actor is in rehearsals it is the main role of the DSM to facilitate the performers and Directors needs, ether for the rehearsal process itself or for the impending performances. Excellent Communication & Interpersonal Skills It almost goes without saying that any type of manager should possess excellent communication and interpersonal skills, though a DSMs remit demands it rather than making it an additional quality that is simply desired. Fig.02
Fig.02. shows a simplified diagram of where the DSM sits in the production process. Communication skills take the form of both verbal (word of mouth) and non-verbal (documentation) disciplines. A good standard must be set from the outset for both skills. Word processing has become an extremely economic and time consuming method of creating paperwork that is of a high standard and extremely quick to edit. Of all of the innovations that have come and gone over the years, the ability to word process documents has made the greatest impact so far on the day to day working of an SM Team. By mastering basic software packages such as Microsoft Word and Excel, the DSM can produce a vast array of relevant paperwork from timesheets to daily to-do lists. The distribution of reports, notes and minutes can then be distributed with a few clicks of a mouse via email etc. However, technology cannot be relied on entirely, the need to have face to face communications, at times, cannot be emphasised highly enough. Sometimes notes or reports, especially those of a more complex nature, should be followed up by the notetaker as often as is possible. These more complex problems should be explained to the department head in a simple and clear manner, whenever required. Basically, as a DSM, you should find time to be available to answer any questions that arise from your notes and reports.
John Wilkie 2005
10
Stage Management 2: Deputy Stage Manager Handbook Organisational Skills Again, this quality is fundamental to a DSM of any stature. It is easy to sit in a rehearsal room and simply push stationery around on your desk for the duration of your time in rehearsals, action needs to follow your planning. So many average DSMs are seen as nothing more than note-takers by their cast and Director and a seen but not heard presitant is set. By the time the Technical Rehearsal is upon the company, no real managerial policy has been set and the Technical can be in danger of being, shall we say.under-managed? I have listed a few guidelines to help you get started in rehearsals, we shall look at these duties in more detail in the following chapter. Cast & Crew Contact Sheets. Timings Availability Charts. Measurements & Fittings. Cast Call Sheets. Rehearsal Furniture, Set Items & Props. Rehearsal Notes. Compiling the Book Blocking Calls Stand Bys Qs Provisional Settings List. Provisional Running List. Provisional Fly Plot. Provisional Sound Plot. Q-Light Settings List. Equity Rulings. Personal Timesheets. Cast Timesheets. Health & Safety Policies. Working Time Directives (WTD). Copyright Law. Show Reports. Running Time.
John Wilkie 2005
11
Read Through
Day 1
Week 1
2 3 4
John Wilkie 2005

Blocking 5 6
Meet the Company Contact Sheets Timings Compile the Book Blocking Rehearsal Notes Wardrobe Calls Basic Settings List Rehearsal Provision
7 1 Working
Week 2
Fig.03. A typical Repertory Production Timeline.
2 3 4 5 6
Compile the Book Blocking Rehearsal Notes Wardrobe Calls Settings List Rehearsal Provision Begin Prompting
7 1 Working
Rehearsal Period
Week 3
2 3 4 5 6 7
Runs
Compile the Book Provisional Running List. Rehearsal Notes Settings List Prompting Provisional Fly Plot Prov. Sound Plot
1
In Rehearsals Fit Up LX Rig In Rehearsals

Qs, S/Bs in Book Update Book Show Reports Show Reports
Production Week
Week 4
2 3 4 5 6
Transfer to Stage
LX Focus\Plot Technical Dress\Perf. Performance
7 Performance. Begin to Rehearse Next Show 1
Weeks 5,6&7
Performance Period
2 3 4 5
Show Management Q the Show Show Reports Show Maintenance House Keeping Start Rehearsing next Show.
6 7
Strike
PostProduction
Returns, Begin to Fit Up Next Show.
Fig.03
12
Stage Management 2: Deputy Stage Manager Handbook The timeline shown in Fig.03 depicts a fairly typical production period within a standard Repertory Theatre. I have added a guide (at the bottom) that shows roughly where a DSM should be, in terms of paperwork, at any time during a production. Organisation can be split into two distinct areas, first of all there is all the necessary planning and then the required action that arises from the planning stage. It is important to get the balance correct between these two disciplines, as too much planning can leave you with little time to act. In contrast, too little preparation and planning leads to a lack of efficiency. Different venues allocate different schedules to their productions, but a standard length of production, as in Fig.03, is the most common. Rehearsal periods can be anywhere from a week to three months long, production weeks can stretch to three weeks or more and performances can run for years. It is safe to say though, that you will never have enough time and that goes for every department employed on the Production. So it is essential to measure your time carefully, allocate enough time to pre-plan to a level that is satisfactory for all concerned and the remaining time should be sufficient to act on your planning solutions. This becomes easier with practise and your familiarity with the process becomes second nature. Stamina, Patience and Concentration Long production weeks tend to put a great deal of pressure on the company as a whole, everything goes into overdrive during this period. The hours can be in excess of sixty per week and during the winter you see very little daylight. Nutritional intake can only be described as a diet of junk and fast food, eaten at irregular intervals and usually in haste. Break infringements are common place and few remember that they have missed their statutory breaks. All of these elements result in tempers being fraid, stress levels reaching the ceiling and personal relationships being exasperated, when this occurs it takes careful management of yourself and others to pull through. During any production, the quality of its management is graded on the apparent lack of stress placed upon its employees. There will always be issues to deal with and problems to tackle, it is the manner in which they are solved that sets the standard and is as important to the process as the quality of solution that is offered up. When a show is in performance and the run is a long one, a DSM has to find the same level of concentration for each performance. Following the script closely, in between cues, for anything up to 5hrs each evening (more if there are matinees) can become mentally debilitating, especially if the show is running for more than two weeks. If it werent for the fact that you can be preparing a different show during the day, that period of your life takes on a bit of a Groundhog Day feel to it. Actors can be a sensitive bunch at times (with exception to the whiskey riddled hardnosed veteran fraternity) and it is easy to forget this, especially when you seem to be dealing with an endless stream of seemingly petty and (at times) personal problems. Patience, in these circumstances, is a very useful asset to have.
John Wilkie 2005
13
The Rehearsal Process
John Wilkie 2005
14
Tools of the Trade

There are a few items which may help you in your role of DSM and I have listed them in three categories below, starting with the most useful. Required A4 Lever Arch Binder Notepad & Pen Box of Pencils & a couple of Erasers. Sharpener Ring Reinforcers. Ruler & Angle Scale ruler with 1:25, 1:50 and 1:100 Maglite Black Clothing (Blacks) Watch
Recommended Handy Laptop/PDA Digital Camera Pen (USB) Drive Multi-tool e.g. Leatherman, Gerber etc Small standard tool-kit Mobile Phone A-Z of Local Area Phone Book and Yellow Pages Stop-watch
You will also require the following for Rehearsals, the venue should supply you with the following. Several roles of PVC (LX) Tape (different colours). Gaffer Tape Spare copies of script and/or score. Chalk. First Aid Kit. Ground plan.
John Wilkie 2005
15
Stage Management 2: Deputy Stage Manager Handbook The Rehearsal Process The Read Through Stage Management are usually in first on a Read Through day. Part of their remit is to set up the necessary number of tables and chairs for the cast and any other relevant company members that may attend. Spare copies of the script and extra pencils are always a good idea. There is also no harm in setting a good early impression of the team by providing water and cups for the cast, having an availability chart on the wall and a clearly laid out notice board. If possible, rehearsal furniture, set pieces and props should all be collected and ready for an immediate start after the read through. This is only possible if prior contact had been made with the Director or possibly the Designer in advance of this day. In a lot of cases, this will be the first that time that you will have met the cast. It is normally the DSMs job to compile a Contact Sheet of all the cast members before the Read Through begins. An Allergy Sheet can save a lot of time later on, this would also be a good time to collate this information. Timing the Read Through Once the cast and company have all been introduced and any absences have been chased up or apologised for, the Director normally gives a brief introduction and history to the play. The Designer would then explain the set and costumes to the cast and a basic overview of the concept behind the designs. This is where the set model and costume drawings are normally viewed, for the first time, in their finished state. Taking pictures of the set model is beneficial as it usually gets broken up and sent to the workshop then the scenic art department after the read through and is as good as lost when this happens. Eventually the read through begins and a timing is usually taken by the DSM. This will give everybody their first indication as to how long the show will be. If the run through constantly stops in order to discuss ideas etc. then try to compensate for these breaks when giving your final running time to the Director. After the Read Through After the read through and depending on what the Director wants to do, several scenarios can take place, any of which you should be ready for. Here are a few examples. Blocking Commences Measurements in wardrobe. Further Textual Analysis. Mark Up (if not already done). First Production Meeting. Director available to meet with separate departments. Another Read Through. Afternoon Off (Extremely unlikely!)
John Wilkie 2005
16
Stage Management 2: Deputy Stage Manager Handbook Sometimes this isnt decided until after the read through, usually depending on how the Director feels, he may be in no mood to face blocking straight away. Cast members who find themselves with a bit of extra time may want shown around the building, especially if they are new to the venue. It is a time for you to rekindle old acquaintances and meet some potential friends. Theatre is a relatively small industry and the same actors tend to come around in cycles, working a tried and tested route littered with short term contracts. It is the transient nature of the job. Nailing the Designer Designers can be an elusive lot, so if you have any questions regarding the set, props or costume that may affect rehearsals then now is the time to have that meeting. It is also an ideal time for the Designer to check the mark up and answer any questions that you may have. Preparing the Rehearsal Room Afterwards, you can then start to plan and hunt for rehearsal furniture and props. Perhaps staging is needed to create another level? A wire may need drawn across the room in order to hang a rehearsal wipe on? Screens may need erected to represent walls? Props tables may need to be set up etc It is entirely up to you what you wish to provide and at what time in the process. As ideas occur to you then the room begins to evolve with the project. There is usually a large pile of cut props in the corner of every rehearsal room. A good rehearsal space is one where you can adapt the environment in the easiest possible way. Older rehearsal rooms tend to have had so many adaptations made and left up for future occasions that most problems have already been encountered and catered for. The ability to screw into the floor, walls and ceiling is a great help to start with. A great deal of rehearsal rooms are also utilised as small studios from time to time and actually host performances, these are usually the better equipped rehearsal environments. Some form of grid or LX bars are usually present, making it easy to hang pieces of set to enhance rehearsals. Make sure you check the loading before proceeding with this venture. Until the actual item is available, the closer that you can represent certain set items, props and costume with stand-ins, the potential for a better end product or performance is heightened. Mark ups, by themselves are often adequate for a performer to rehearse on, but having something to represent either a wall or set of stairs gives the actor more confidence every time he/she rehearses with it. This makes it more complex and harder work for the DSM, especially when the production demands several changes of scene and you have got to the stage in rehearsals where runs are imminent. This is also part of your remit.
John Wilkie 2005
17
Stage Management 2: Deputy Stage Manager Handbook Organise Yourself Find yourself an adequately sized desk, with drawers if possible and position it as close to the Centre Line as possible. A lot of paperwork is generated by a busy DSM so space to spread it out in front of you will be needed. If a notice board isnt available then find a space on a wall to create one. Ideally this should be as close to the main door as possible so actors can reference it without causing too much disruption to rehearsals. I like to post my Call Sheets on the other side of the door to help alleviate this problem. Some forms of documentation that may be useful to have up on the first day of rehearsals are as follows. Call Sheet Availability Chart Set Model Photos Costume Drawings Ground plan Cast List Design Reference material Any other relevant information Compiling the Book Prior to Rehearsal starting, you can begin to put your Book together. The more that you can do before the Read Through the less you will have to do later. Getting a decent lever arch folder is a good place to start (See Fig.05). Lever Arch Folders hold the pages in a lot more firmly than conventional ring binders, this is essential if the Book is being used as part of a long tour or an extended run. The other advantage of using a Lever Arch Folder is that it gives you an overlap (See Fig.06) on the front cover which is seen at all times, this is an ideal place to situate a Key and any other important information that can be seen at all times.
Fig.05.
John Wilkie 2005
18
If lost please return to: John Wilkie RSAMD Glasgow 01412708210
Stage Management 2: Deputy Stage Manager Handbook Script
Fig.06. Fig.06 Shows the ideal location for your key and a distinct place to post your own details. A Key is vital to any Book, you have to always make the assumption that you may be ill one day and someone else may need to reference the Book. This person may not be a Stage Manager, so the Book must be laid out clearly. It may be an Actor or Director needing to reference blocking or script changes, one of your ASMs sitting in for you etcA key to all of your symbols and abbreviations makes their interpretation of your work a lot simpler. By placing your Key here, there is no need to go hunting for it amidst a sea of documentation and it is always on view. The Key must be updated regularly to compensate for changes made during rehearsals. Your personal details should NOT include your home address or telephone number, always use the Stage Management office number and the Theatre address. Laying out a Book Books are as individual as the DSMs that compile them, due to the partially organic nature of rehearsals. There are a few standards to laying out a Book, these are as follows. Always try to remember that, in your absence, your Book may be used by others and since most DSMs make up their own symbols and abbreviations, it is vital to have a Key. Simple additions such as a contents page and section dividers can aid in making your Book more functional and easier to retrieve information from. 19
Key: C.S.L = Centre Stage Left C.S. = Centre Stage Xs = Crosses = Moves D.S = Moves D.S.L = Sits = Stands = Chair
3
= 3 Beat Pause = Barry = John = Sarah = Steve
Characters
B J S St
John Wilkie 2005
Stage Management 2: Deputy Stage Manager Handbook The Book is a unique item and is very difficult to replace if damaged or lost. Keep the Book in a safe place, preferably under lock and key, in the Theatre. When touring always carry the Book with you, never send it ahead in the van or with someone else. There will be times when you will have to work on your Book at home, extreme care must be taken when in transit. A Book must not be left in the prompt desk in between or after shows.
To add a bit more stability and strength to your Book use ring re-inforcers, its a lengthy and extremely dull process, but necessary in the long run. Putting columns into the Book is the next stage of the process, this can be done simply by using one of two methods. Method 1 Slip a piece of A4 in between each script page. This makes the Book twice as thick as normal and is not recommended when working solely from a score. The advantage of this system is that it is easy to edit entire pages, by simply removing them. You can photocopy your columns and column headings onto each page, ready for rehearsals. Method 2 Use the back of the existing script to copy your columns and headings onto. This makes the prompt copy less bulky and more manageable. The downside being that edits are less easy to make, as you have to change any details on the script side of the page also. Fig.07. shows the most common lay out for a book i.e. 3 columns.
Blocking Calls S/Bs
Ghost beckons HAMLET
Cues
HORATIO It beckons you to go away with it, As if it some impartment did desire To you alone. MARCELLUS Look, with what courteous action It waves you to a more removed ground: But do not go with it. HORATIO No, by no means. HAMLET It will not speak; then I will follow it. HORATIO Do not, my lord.
HAMLET Why, what should be the fear? I do not set my life in a pin's fee; And for my soul, what can it do to that, Being a thing immortal as itself? It waves me forth again: I'll follow it. HORATIO What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason. And draw you into madness? think of it: The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath. HAMLET It waves me still. Go on; I'll follow thee. MARCELLUS You shall not go, my lord. HAMLET Hold off your hands. HORATIO Be ruled; you shall not go.
Fig.07 John Wilkie 2005 20

Blocking
Cues
HAMLET Why, what should be the fear? I do not set my life in a pin's fee; And for my soul, what can it do to that, Being a thing immortal as itself? It waves me forth again: I'll follow it. HORATIO What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason. And draw you into madness? think of it: The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath. HAMLET It waves me still. Go on; I'll follow thee. MARCELLUS You shall not go, my lord. HAMLET Hold off your hands. HORATIO Be ruled; you shall not go.
Fig.08 Fig.08. shows another popular layout for a Book, this time using a 2 column system. This system is useful if you are operating LX and/or Sound. It gives a lot of space to list levels and make operational notes, especially in the Cues column. However, it is a looser framework to input information into, Stand Bys can be lost in amongst notes, cues and calls and a certain amount of clarity is lost. Some prefer a less rigid system to work with and this is ideal for them.
Blocking Calls S/Bs Cues
Fig.09. depicts a slightly more complex, 4 column Book. The disadvantage to this system is that it sacrifices space for order. It is important to remember that both the Blocking and Cue columns need more space than any other column.
John Wilkie 2005
Fig.09
21
Stage Management 2: Deputy Stage Manager Handbook Preparing Early Paperwork Once you have laid out your Book and it is ready for the first day of actual rehearsals, you can (time allowing) start to create templates for any other paperwork that you may need. Some examples of early rehearsal paperwork are as follows Rehearsal Note (Fig.10) Call Sheet (Fig.11) Availability Chart (Fig.12) Personal Timesheet (Fig.13) Cast Timesheet (Fig.14) Rehearsal Notes Rehearsal notes are a continuous process within rehearsals. They are usually taken in note form then collated and put into a standardised template. At the end of a rehearsal it is often a good idea to ask the Director to clarify any notes that you are unsure of, before distributing them to the relevant departments. Every department should be listed on your notes, whether there is a note for them on that day or not. This also goes for distributing your notes, all departments should receive a copy, regardless if there is something for them or not. This ensures that everyone knows what is going on, another departments note may be partially relevant to some other department and may not have been picked up, initially, by you. e.g. a stage management note that states that there will be double the blood used for a particular scene. Though there was no Wardrobe note for that day, by distributing the stage management note to them they are alerted to the fact that double the blood is being used and any consequences that may entail. Within the RSAMD we have standardised the way that Rehearsal Notes, Production Minutes and Show Reports are distributed. This is especially relevant to Rehearsal Notes, see below for a description of this system. No Notes (for any department) Notes available Email Only Email & Hardcopy All Departments All Departments
When distributing hardcopies it is important to follow up any particularly complicated or difficult to explain notes by speaking to the department head that it concerns. When emailing notes, please adhere to the following format: Documentation Rehearsal Notes Production Meeting Minutes Show Reports Email Subject Line Backstage Hell RN 01 12.05.04 Backstage Hell PM 01 12.05.04 Backstage Hell SR 01 12.05.04
This allows the recipients to set up filters within their email client in order to file all documentation more efficiently. John Wilkie 2005 22

Date: Thursday, 9th December 2004
Fig.10
FALSTA F
Rehearsal Notes
Rehearsal Note No. 11
Stage Manager: Louie Whitemore Deputy Stage Manager: Anna Casson Rehearsal Room: The Groves Studio
F.A.O.: Anna Casson, Tim Dean, David Dunnachie, Dave Evans, Colin Grenfell, Bridget Kimak, Zander Lee, Martin Lloyd-Evans, Jamie Mackay, Steve MacLuskie, Ros Maddison, Martin Mallorie, Ross McMillan, Christine Murphy, Ronnie Murphy, Davy ONeill, David Ripley, Sean Taylor, Louie Whitemore, John Wilkie
General
There will be runs of all three acts on the following days: o Friday 10th December at 2pm o Friday 17th December at 10am There is a variation in one small section of the text in Act III Scene II (page 407 in technical scores handed out). In some scores it reads il corteggio nuziale. Etenti The text being used for this production, which replaces the above, is la coppia delglia sposi. Attenti.
Design
No notes today. Director No notes today. Electrics No notes today. Paintframe No notes today. Props The puppets will be required in rehearsals for the following sessions: Monday 13th from 6pm Wednesday 15th from 10am (not afternoon) Thursday 16th from 2pm (not morning) Friday 10am (ALL DAY) The singers may hold the puppets at the point between the head and broom skirt. Stage Management Mr Labonnettes (Falstaff) handkerchief will need to be quite wet for Act III Scene I. He needs to be able to squeeze water out of it when wringing it. This water will fall downstage centre of the platform. Mr Garcias (Fentons) mask strings need securing more rigorously.
John Wilkie 2005
Page 1 of 2
Director: Martin Lloyd-Evans ASMs: David Dunnachie, Ross McMillan
Thank You. 23
Stage Management 2: Deputy Stage Manager Handbook Fig.11
Backstage Hell
Company Rehearsal Call Sheet DSM: John Wilkie Director: Ewan Macgregor Rehearsal Room: R3 Cast Member(s) Call Date: Tues 12th April 03
Notes
Mr Burn Miss Saigon Mr Murray Ms Davenport Ms Davenport Lunch Mr Burn Miss Saigon Mr Murray Ms Davenport Mr Myrtle
10am
Block Act 3 Sc 1
11am 11am 11.30am 1pm
To Join. Fitting. (Wardrobe) To Join.
2pm
Run Act 3 Sc 1
3pm
Work Act 3 Sc 2
Mr Lee
4.30pm
To Join Run Act 3 Fitting (Wardrobe) Fitting (Wardrobe) Fitting (Wardrobe)
Mr Murray Miss Saigon Mr Burn
5pm 5.15pm 5.30pm
Thank You.
John Wilkie DSM John Wilkie 2005 24
Fig.12
Cast Availability Chart

Show Rehearsal Room Backstage Hell R2 SM DSM

Michael Budmani Sue Hawley
Date
20.02.2004
Act 1 Name Barry McCall John Wilkie Stephen Macluskie Sean Taylor Anne Corcoran Sarah Leask Lynfryn Mackenzie Zander Lee Brendan Savage Christine Murphy Tim Reid Jim McGowan Steven Lafferty Martin Mallorie Character Mr Bojangles Himself Darth Vader Bob The Builder Miss Marple Betty Blue Madonna Ugly Sister Ugly Sister Wicked Seamstress Shrek Rock Chick Little Miss Muffitt Puss In Boots Scene 1 2 3 4 Scene 1 2
Act 2 3 4 5
X x x
x x
x x x
x x
X X
x x x x x x x x x x x x x x x x x x x
x x X X x x X x x
x x x x
x x
x x
Cast Availability Chart This chart can be generated in advance of rehearsals by going through the script and listing which characters appear on which Page, Scene or Act. This is a useful tool when scheduling rehearsals, whether it be a plan for the coming week or simply to set calls for the next day. When posting on the rehearsal room notice board it is useful to print/photocopy this onto the biggest size possible, in order to make it as easily read as possible. It is also useful when scheduling Measurements or Fittings as it can be seen at a glance who is in for the next set of planned rehearsals. Sometimes a Director will not schedule rehearsals in anyway but insist that all cast members be in the building and available to rehearse at all times, this makes the Availability Chart partially redundant. John Wilkie 2005 25
Fig.13 Stage Management 2: Deputy Stage Manager Handbook

Department of
Technical & Production Arts

Please use 24hr clock format ie. 13:30 Name Morning Start Finish Monday Tuesday Wednesday Thursday Friday Saturday Sunday 09:00 09:00 09:00 09:00 09:00 09:00 13:00 13:00 13:00 13:00 13:00 13:00 Sub Total 04:00 04:00 04:00 04:00 04:00 04:00 00:00 John Wilkie Afternoon Start 14:00 14:00 14:00 14:00 14:00 14:00 Finish 17:30 17:30 17:30 17:30 17:30 17:30 Sub Total Week Ending Evening Sub Start Finish Total 19.12.2004 Today January 6, 2005 Hours Claimed T1 T1.5 T2 TOIL Overtime Analysis
Day Total 07:30 07:30 07:30 11:00 07:30 07:30 00:00
03:30 00:00 03:30 00:00 03:30 00:00 03:30 18:30 22:00 03:30 03:30 00:00 03:30 00:00 00:00 00:00
03:30 07:30 00:00 11:00 00:00 00:00
Panto Performance Panto Strike
Claimed By
John Wilkie
Total Hours Worked Less Normal Hours
48:30:00 37:30:00
Signed
Less TOIL Total Extra Hours David Ripley
11:00:00
Approved By Signed
John Wilkie 2005
26
Fig.14

Backstage Hell Cast Timesheet Wed Thurs Fri 10:00 13:00 14:00 17:00 Sat 10:00 13:00 Sun Week Total
Week Beginning: 12.04.2002 Performer Mon Tues Mr Burn 10:00 13:00 14:00 17:00 18:00 19:30 7:30 10:00 13:00 14:00 17:00 10:00 13:00 14:00 17:00
14:00 17:00
14:00 17:00
Day Totals Miss Saigon
6:00 10:00 13:00 14:00 17:00 18:00 19:30 7:30 10:00 13:00 14:00 17:00 18:00 19:30 7:30 10:00 13:00 14:00 17:00
3:00
3:00 10:00 13:00
6:00
3:00 10:00 13:00
28:30:00
Day Totals Mr Murray
6:00 10:00 13:00 14:00 17:00 18:00 19:30 7:30 10:00 13:00 14:00 17:00 18:00 19:30 7:30 10:00 13:00 14:00 17:00 18:00 19:30 7:30 10:00 13:00 14:00 17:00 18:00 19:30 7:30
0:00 10:00 13:00 14:00 17:00 18:00 19:30 7:30
3:00 10:00 13:00 14:00 17:00 18:00 19:30 7:30
0:00
3:00
0:00 19:30:00
14:00 17:00
Day Totals Ms Davenport
3:00 10:00 13:00 14:00 17:00
0:00 10:00 13:00
0:00 33:00:00
14:00 17:00
14:00 17:00
Day Totals Mr Myrtle
6:00
3:00 10:00 13:00 14:00 17:00
3:00
6:00 10:00 13:00 14:00 17:00
3:00 11:00 13:00
28:30:00
14:00 17:00
14:00 17:00
Day Totals Mr Lee
6:00 10:00 13:00 14:00 17:00
6:00
3:00
6:00 10:00 13:00 14:00 17:00
2:00 10:00 13:00
30:30:00
14:00 17:00
14:00 17:00
Day Totals
6:00
3:00
3:00
6:00
3:00
28:30:00
John Wilkie 2005
27
Rehearsal Management
The Rehearsal Period is split up into three very defined areas, these are Blocking Working Running
It will depend on the script and Director as to how much time is allocated to each area. Some Directors like to layer their rehearsals, starting with very basic blocking and adding more and more detail at every stage, by the final week of Rehearsals the Actors have the basics down and are adding finer points to their performances. This is in contrast to those Directors who prefer to add detail from day one and continue to do so on a daily basis. The latter is a much slower and ponderous process, several days may be taken on only a handful of pages, whereas the former system tends to be a lot quicker, especially in terms of blocking. The entire play could be blocked in 2 3 days, allowing the Director to start layering the performances accordingly. The difficulty here is that you never know how a Director works, (unless you have worked alongside the individual before) until you sit down on the first day of rehearsals. The following is a very rough breakdown of the three aforementioned areas..
Blocking
Blocking is where the Director very roughly moves the actors around the set. It starts the process of layering the performance. It is the remit of the DSM to record every move made by all of the cast throughout the performance. As there is no real standard to notating blocking in Drama or Opera (there is a standardised system of notation for Dance and Ballet) it is up to the individual DSM to create their own (see Blocking Notation). Usually the first week of rehearsals are concerned solely with blocking, followed by a second week which is left to adding detail i.e. working and finally the final week is left to both working and running. This is dependant on the size and complexity of the show, along with the system that the Director has opted for in rehearsals and the length of the overall Rehearsal process. As the cast develop very simple A to B moves and progressively add more complexity to their movements (e.g. moves from U.S.L to D.S.C and takes his coat off, putting it on the D.S.C chair, then sits in the chair) then the DSM must continuously update his/her blocking to suit. Blocking is an ongoing process, moves are tried and tested through the process of trial an error until both actor and Director are happy. When an Actor comes to Rehearsals they are very rarely expected to have learned their part beforehand, indeed may actors prefer to learn their lines along with learning their moves. In Opera it is different, singers are expected to have learned the music and lyrics before coming to Rehearsals for the first time. You will very rarely find an Opera singer holding a score in their hands whilst rehearsing, whereas, in Drama, it is common place. It is important for the DSM to get as much of this early blocking down as soon as possible, as the Actor will be given a deadline to get off the Book by the Director, when this happens the DSM then takes on any prompting responsibilities that arise and blocking almost becomes secondary.
John Wilkie 2005
28
Stage Management 2: Deputy Stage Manager Handbook Blocking Notation Your notation may be used for several processs, the most common being an actor who has simply forgotten a move. Other uses for the notation process could include the following. During the LX Plot, where reference to stage positions are required for lighting purposes If a principle is unavailable for a performance then the book serves as a training aid for any understudy rehearsal that is required. A record of the show. o For the possibility of a revival. o For prosperity. To aid in Play Days and educational exercises.
Due to the constant updating that is required when writing down Blocking, a pencil is always used, never a pen. This ensures that editing can be done several times and the Book remains as neat and tidy as possible. In order for a Book to be easily read by others block capitals are the standard (no joiney-up writing!). Apart from these very basic standards, there are no hard and fast rules to compiling a Book (aka The Prompt Copy). It is entirely up to the DSM to create a system of short hand, as speed is of the essence. On the next page there are some examples of symbols used by professional DSMs to get you started. A good quality pencil is also recommended and an eraser to match. Do Stage Managers make the tea? Only if they like the person that they are making it for.
John Wilkie 2005
29
Examples of Blocking Notation Moves U.S.L U.S.C U.S.R C.S.L C.S C.S.R D.S.L D.S.C D.S.R P.S. O.P. Xs Up Stage Left Up Stage Centre Up Stage Right Centre Stage Left Centre Stage Centre Stage Right Down Stage Left Down Stage Centre Down Stage Right Prompt Side Opposite Prompt Crosses Moves D.S Moves D.S.L Moves U.S Moves S.L Moves S.R Sits Stands
3
Characters B J S St Barry John Sarah Steve Furniture/Props Table

1
Chair 1
or
Sits
or
Stands
Dance Notation For further and more detailed information on Dance Notation please refer to the following website.. http://www.artslynx.org /dance/notation.htm Several systems have been tried & tested in order to preserve dance routines for prosperity.
3 beat Pause Looks
at with
John Wilkie 2005
30
Fig.15
Fig.15 depicts a very simple move. Britney (the actress) starts off Down Stage Right. She then crosses to Down Stage Left. The longhand version would read something like this. Britney crosses from down stage right to down stage left and stands next to chair. This would take too long to write in a pressurised rehearsal environment, so we create our own forms of shorthand to help speed up the process and save space within your blocking column. Examples of this are as follows. Example 1 B
xs
TO D.S.L CHAIR
Example 2 B
xs D.S.L TO
Example 3 B
xs D.S.L TO CH1
Example 4 B
CROSSES TO D.S.L CHAIR
Any of the above would be correct. If you have time in rehearsals then the closer that you can get to longhand the better, for it is the easiest layout to read. Notice how the character reference is encircled, this helps to make the character stand out amongst all of the other symbols, to aid in finding specific details much faster.
John Wilkie 2005
31

HORATIO
1 It beckons you to go away

with it, As if it some impartment did desire To you alone.
Blocking SBs\Calls Cues
HORATIO It 1 beckons you to go away with it, As if it some impartment did desire To you alone.
Number Referencing
M xs DSL to G s L
MARCELLUS Look, with what courteous action It waves you to a more removed ground: But do not go with it. HORATIO No, by no means. HAMLET
Place a number (in a circle) over the word HORATIO on which the Actor starts his HAMLET move, then write your notation in the blocking column, starting with the same number. Try to put HORATIO both numbers level with each other on the page.
It will not speak; then I will follow it.
Do not, my lord.
Why, what should be the fear? I do not set my life in a pin's fee; And for my soul, what can it do to that, Being a thing immortal as itself? It waves me forth again: I'll follow it.
What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason. And draw you into madness? think of it: The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath.
HAMLET It waves me still. Go on; I'll follow thee. MARCELLUS You shall not go, my lord.
Fig.16. John Wilkie 2005 32
Stage Management 2: Deputy Stage Manager Handbook Fig.16 shows an example of blocking notation for a production of Hamlet. Numbers should RESTART on each new page and not be continuous throughout the script. This is also for editing reasons, if a new move is created between two existing moves then you need not re-number from page 1 of the script or score, you can simply begin your re-numbering from the top of the page that the new move was found on. Renumbering is always going to be time consuming so the following system may be of use to you. Sectioning the Page Imagine that the script has been split into horizontal sections (see Fig.17). Blocking move No.1 happens either before or on the first piece of dialogue (the first spoken word on the page) and the last move (well call it move No.20, but this will depend on how much action there is likely to be on that particular page) is on or after the final word on the page. You can then split the dialogue area up into sections.
Blocking
Calls/Sbs
Cues
1
2 3 4
5
6 7 8 9
10
11 12 13 14
HAMLET Why, what should be the fear? I do not set my life in a pin's fee; And for my soul, what can it do to that, Being a thing immortal as itself? It waves me forth again: I'll follow it. HORATIO What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason. And draw you into madness? think of it: The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea
15
16 17 18 19
20
Fig.17 This is a technique enabling you to reduce the amount of renumbering that you have to do. If the first move on the page is on Horatios line No, by no means. then your first number in the blocking column would be 6. This allows you to slip in new moves without having to drastically re-number. There will come a point, in some productions, where the number of moves added on a particular page become too numerous for your numbering system, simply add the suffix a or b etc e.g. 6a, 6b Another alternative, which is preferred, would be to add points after the number. e.g. 6.5 etc
John Wilkie 2005
33
Stage Management 2: Deputy Stage Manager Handbook Recording Blocking using A.V. Due to the convenient size, functionality and relatively low cost of modern video equipment, there appears to be a trend growing (especially in Dance) to record rehearsals. One of the main reasons for this is to aid the DSM in notating the moves. At the end of every day, the DSM, accompanied by notes taken during rehearsals, then sits down and notates the finalised moves using playback. This would be particularly useful for fight scenes and ones that contain many characters moving around. The future of compiling Books With PCs and MACs dropping in price every day, it is not impossible to envisage a Prompt Copy of the very near future. All it takes now is for some bright spark to write the software and weve made a small leap in the evolution of Stage Management. A laptop, intuitive software, an experienced operator and a few quid would be all that it would take. With the script, blocking, calls, stand bys etcall being recreated digitally it would not take much of jump to create a system where the DSM triggers all of the cues (LX, Sound, Flies, AV etc), simply by jacking their laptop into a port situated in the old Prompt Corner, now called the Prompt Port. Rehearsal Provision A general rule of thumb, is that the DSM is in before rehearsals start every morning, to set up for the first scene of the day. It is preferable to set up after the previous evenings session but this isnt always possible. Your Stage Manager and ASMs should be available to help you if required. This is also a good time to discuss the previous days Rehearsal Notes with your team and follow up any difficult notes that emerged. As rehearsals progress props and furniture will be added and cut, it is your responsibility to manage this process in the Rehearsal Room. The following points should be considered Every prop and piece of furniture should have a rehearsal stand-in. There should be something for everything. Try to get the rehearsal room as close to the set design as possible (within reason). Be creative, search the prop and scenery stores for rostra and blocks to use. Rehearsal doors are great if your set requires them. Where necessary, ask other departments to aid you in realising the above issue, however only do this if it is crucial and/or the Director has demanded that you do so. As actual props start to filter into the SM department, discuss the possibility of using them in rehearsals with your SM. It may not possible, particularly if the items are expensive. Remove any cut items back to the props/scenery stores as soon as it is confirmed. Ensure kneepads are available for actors that require them. Ensure that spare scripts, pencils and other bits of stationery are available. Keep the room tidied and organised. Try to get rehearsal skirts and shoes (especially if the set has different levels or a rake is being used) in rehearsals as soon as possible. This also goes for any unusual costume that may restrict movement in any way. 34
John Wilkie 2005
Stage Management 2: Deputy Stage Manager Handbook Time Keeping There are several areas of time management that concerns a DSM. Again, a list... Advising on both the Rehearsal and Production Schedules. Cast timesheets. Adhering to policies laid down by Equity. Calling\advising on imminent breaks. Timing the read through and runs. A general understanding of both Equity and Musicians Union (MU) regulations. Personal attendance and time keeping. Rehearsal Calls. The sad tale of the repertory DSM. At the end of a rehearsal day, when you have typed up your Rehearsal Notes, distributed them, telephoned your cast their calls, typed and posted your call sheets, set up for the next days run and tidied away all of you casts empty lunch wrappers and cans, you get into your blacks and get ready to crew the evening performance (deep sigh!).
Equity
Equity is the only Trade Union to represent artists from across the entire spectrum of arts and entertainment. Formed in 1930 by a group of West End of London performers, Equity quickly spread to encompass the whole range of professional entertainment so our membership includes actors, singers, dancers, choreographers, stage managers, theatre directors and designers, variety and circus artists, television and radio presenters, walk-on and supporting artists, stunt performers and directors and theatre fight directors. Although we are a Trade Union, Equity is not politically affiliated and so does not make payments to any political party. This puts Equity in the strong position of being able to lobby with impunity governments of all political colours. We are however affiliated to the Trades Unions Congress and Equity delegates attend the annual TUC conference as a means of bringing performers' issues to a wider audience. The main function of Equity is to negotiate minimum terms and conditions of employment throughout the entire world of entertainment and to endeavor to ensure these take account of social and economic changes. We look to the future as well, negotiating agreements to embrace the new and emerging technologies which affect performers so satellite, digital television, new media and so on are all covered, as are the more traditional areas. We also work at national level by lobbying government and other bodies on issues of paramount importance to the membership. In addition we operate at an international level through the Federation of International Artists which Equity helped to establish, the International Committee for Artistic Freedom and through agreements with sister unions overseas. From the welcome page of www.equity.org.uk
3H
John Wilkie 2005
35
Stage Management 2: Deputy Stage Manager Handbook Equity offers a student package at a greatly reduced cost. If you are interested in joining Equity as a student then please call the number opposite or log onto www.equity.org.uk The importance of knowing the basic policies that equity lays out in its handbook means that you have a well established framework to work from. It is important to ensure that these policies are adhered to, so long as your tied to an equity contract. Equity usually insists that an Equity Deputy be voted for by the company prior to rehearsals starting (its usually someone who hasnt done it before, like a graduate on their first job). This person then becomes the link between the Union and the company.
Lorne Boswell Drew McFarlane Irene Gilchrist Equity 114 Union Street Glasgow G1 3QQ tel: 0141 248 2472 fax: 0141 248 2473 www.equity.org.uk
The following are some Equity rulings that are the most pertinent to the role of DSM. A full copy of the Equity ITC agreement which outlines all of its rulings is available in the Stage Management office. If you want a copy of the agreement please bring a blank floppy disk or a USB pen drive to me for copying.
COLLECTIVE AGREEMENT This Agreement sets out the terms and conditions which must be observed by Approved Manager Members of the ITC (referred to as Managers throughout this Agreement), for the engagement of Performers and Stage Managers (referred to as Company Members throughout this Agreement). Length of Working Week: The working week shall be no more than 43 hours (excluding meal breaks) worked over no more than 6 days except that there can be one designated production week in each production period where a maximum of 47 hours may be worked without overtime being due. The maximum working day shall be 10 hours (excluding meal breaks) and those hours shall fall between 8.00am and 12.00 midnight. Breaks Meal Breaks There shall be a one-hour meal break between morning and afternoon working periods and between afternoon and evening working periods. Wherever possible breaks shall be taken at mutually agreed times near to normally accepted meal times. The Company Member shall have the right to refuse to miss a meal break. Mutually agreed missed breaks shall be treated as overtime (see Clause E, Overtime). Tea Breaks There shall be a break of 15 minutes within any continuous working period of 3 hours. Whilst working away from Base it is the Company Members responsibility to ensure that this break is observed. It is accepted that this break is not applicable to rail and air travel. The Company Member shall have the right to refuse to miss a tea break. Mutually agreed missed breaks shall be treated as overtime (see Clause E, Overtime).
John Wilkie 2005
36

Overnight Gap A minimum period of at least 11 hours shall elapse after the conclusion of each days work during which the Company member shall not be called. (see Clause E(2), Compensatory Rest) 1st Call of the Day The Manager shall notify the Company Member of this by 6.00pm or the end of the afternoon working period of the previous day, which ever is earlier. Minimum call The minimum call shall be counted as 3 hours even though the period actually worked may be less. FREE DAY There shall be at least 1 free day for every 6 days worked throughout the engagement and there shall not be more than 6 days worked between each free day. (See Clause E(2), Compensatory Rest).
OVERTIME
Overtime is time worked in breach of breaks or in excess of normal hours. It will be compensated by the following methods, in combination if appropriate. TOIL (Time Off In Lieu) A maximum of 8 hours overtime a week (or a total of 8 hours aggregated over 3 weeks) may be compensated for by TOIL. TOIL shall be given as a whole day free of calls and shall be given within the subsequent week or as soon as possible thereafter. TOIL must be given at Company Base except where the Company Member and Manager agree otherwise. Overtime Payment The following types of overtime must be compensated by payment at the appropriate rate and not by TOIL: hours worked in excess of 8 hours overtime + any work on a designated Free Day + work during the overnight break hours worked where time is not available to give TOIL. + Compensatory Rest (See Clause E(2), Compensatory Rest) must also be given. The overtime rate (i.e. up to 12 hours over 43 per week) shall be 1 1/2 x the hourly rate (calculated as 1/43rd of the weekly salary and to be reckoned in half hour segments). Any overtime worked over 12 hours shall be paid at 3x the hourly rate. Compensatory Rest Compensatory Rest shall mean time off equivalent to the rest period breached, rounded up to the nearest quarter hour, to apply in the following circumstances:Breach of Overnight Gap Where there is a breach of the overnight gap the Company Member shall be given Compensatory Rest within 2 weeks.
John Wilkie 2005
37

Breach of Free Day Where there is a breach of the Free Day, Compensatory Rest shall be given within 6 weeks. Working Time Regulations These Regulations mean that no more than 48 hours a week, on average, may be worked. This average should be calculated over a reference period of 17 weeks or the run of the production, whichever is the shorter. Time Sheets Company Members shall complete and submit to the Manager time sheets each week detailing hours worked. When on tour, Company Members are responsible for making sure that breaks are taken. Where the schedule and workload prevent breaks from being taken they will be compensated for by overtime payment.
ITC / EQUITY AGREEMENT FOR PERFORMERS AND STAGE MANAGERS Terms & Conditions 2002 2003 The more that you make yourself knowledgeable of Equitys rulings and commit them to memory, the more employable you will become and the rehearsal process becomes better managed. Production Meetings A company will endeavour to hold a Production Meeting once a week to gauge the progress of the project. A DSM should be prepared to take minutes at these meetings and distribute them. An agenda should be made available by the Production Manager (who usually Chairs these sessions) to aid you in laying out the format that the minutes should take. (See Fig.17. for an example of a set of Production Meeting Minutes) Remember to bring your Book with you, it may need to be referenced during the meeting. The A.O.B at the bottom of the minutes on Fig.17 stands for Any Other Business. This is basically the Chair asking the meeting if there is anything else relevant to discuss outwith the Agenda. The Agenda is a list of general topics that need to be discussed during the meeting. They are normally laid out by department. The use of Dictaphones is sometimes used, but unless it has a multi-directional mic and is of good quality (i.e. expensive) then they are of little use. The cheaper Dictaphones are designed to pick up a voice talking directly into it and not a lot of voices in one room.
John Wilkie 2005
38
Spoon River
Production Minutes 16th May 2003 AGOS Conference Room
Present:
Apologies:
David ONeill (Chair), Jamie Mackay, Kevin Murray, Brendan Savage, Sean Taylor, John Morson, Jo Dixon, Robin Mitchell, Donna Sotomorettini, Gillian Affleck, John Wilkie. Mr Rice
1. Last Meetings Minutes: No Issues Arising.
2. Model Box/Set Design/Drawings 3rd (S.L.) Flat is cut. 4 Windows are being used now, instead of 5. Cyclorama to come up over top of set to form a ceiling to represent sky. Cladding needed for steel deck. Possibly more levels to be added from stock. Only windows to be gauzed. Browns (e.g. Dark Oak) and gold leaf trim to be implemented into colour scheme. Book should break into 4 sections for one flat and 2 for other. Blackboard paint to be priced for bottom of one of the book sections. (to be drawn on by cast. Cheaper alternatives i.e. matt black paint to be tested and samples to be tried. Movable blocks or rostra to be added for cast to move about. Mr Sotomorettini noted that she was happy if the bookflat didnt open. Mr Murray will have a further meeting to discuss this design issue. Mr Wilkie to check availability of TV Studio in order to fit up the set for the actors to work on the week before the get-in.
3. Wardrobe Miss Affleck requested a cast list, drawings and whether the band needs costumed. Mr Murray will provide all of the above. Miss Sotomorettini is still looking for musicians to play in the band. The cast will consist of 4 actresses and 6 actors.
4. Workshop Mr ONeill expressed concern as to whether the set can be fitted up in the time allocated. Mr Savage is confident that it can be done in the time allocated, however it will have to be planned meticulously. Mr Savage expressed concern over the building of the platform as he did not initially cost it. More detail was asked for.
John Wilkie 2005
39
Stage Management 2: Deputy Stage Manager Handbook 5. TSM Mr Morson expressed concern on how the book flat would flex when opened. Mr ONeill & Mr Mackay requested that the set be fitted up in the paintframe. Mr Savage replied with a firm Yes. Bent conduit to be used on either side of cyclorama to give it its curved shape. A border will need to be hung along the front edge of the cyc to stop light spill from above.
6. Stage Management. Mr Wilkie requested a props list. Most props will be from stock and emerge through the rehearsal process.
7. Paintframe 8. LX Cyc will restrict the use of downlight. Housing for LX fittings to be pre-rigged onto the back of the bookflat. These housings will be made out of scrap wood from workshop. These fittings will have to be attached before the gauze. The flood bars will have to be hung before the cyc is hung. Gauze to be lightly painted.
9. Sound Miss Sotomorettini does not want the cast to sing along to recorded music. Recording of children singing may be required.
10. A.O.B. None.
11. Date Of Next Meeting Friday 23rd May 2003, AGOS Conference Room @10am.
Minutes Taken By John Wilkie, Resident Stage Manager
John Wilkie 2005
40
Meanwhile. Back in rehearsals
Stage Management 2: Deputy Stage Manager Handbook Editing the Text
From the first day in rehearsals you will have been altering the text, cutting lines, paragraphs and sometimes pages. Only the DSM maintains an up to date version of the script. It is also crucial that this is done as it may affect several of the processs at a later date. Prompting becomes difficult if you dont have a fully updated script, as does cuing and running line and speed runs. At times a Director may not be available to attend a rehearsal. Occasionally the Director will ask the DSM (in the absence of an Assistant Director) to host a line run for the cast. This is usually held in the Rehearsal Room with the cast sitting down a saying their lines, sometimes at speed. The DSM then corrects any misquoted words or lines. On even rarer occasions you may be asked to oversee a run (which usually turns out to be a riot!).
Working the Script

As the blocking stage comes to an end, the Director and Cast will begin to add layers to their blocking. Props will start to be used as the cast become much less reliant on their scripts, this in turn, allows them to use both of their hands in order to create specific business with their props and costumes. A great deal of talking also goes on during these sessions, it is a good time to catch up with any blocking that needs updating or lists that needs attention. The Art of Prompting Main Entry: 1prompt Pronunciation: 'prm(p)t Function: transitive verb Etymology: Middle English, from Medieval Latin promptare, from Latin promptus prompt 1 : to move to action : INCITE 2 : to assist (one acting or reciting) by suggesting or saying the next words of something forgotten or imperfectly learned : CUE 3 : to serve as the inciting cause of - prompter noun In a way, this is where it all started for DSMs, as Prompters. Situated DSC alongside the footlights, in a wee box, our forefathers sat with the Prompt Copy in front of them and threw lines to Henry Irving, Ellen Terry and other foosty old Victorians. However, on a more serious note, prompting is fast becoming a rapidly diminishing skill. Learning to read an actors body language prior to a dry can often alert you to an imminent prompt. When acting companies were more prevalent this was an easy skill to hone, as you worked with the same cast throughout the season. You got to know them and learn all of their little idiosyncrasies.
John Wilkie 2005
41
Prompting continued In some Theatres there may be a no prompting policy. This is in place to put pressure on performers to learn their lines thoroughly and avoid disrupting the performance in any way. When a performer has dried and requires a prompt they will usually ask for it by saying Line. You should then deliver the line clearly and quickly. There should be little or no gap or pause between the actor asking for a line and you delivering it. Try to read one line ahead of the performer, look for tell-tale signs of an imminent dry, you will find that most actors have some subconscious idiosyncratic gesture that preludes a dry. For example, one actor may scratch his chin every time that he is about to dry, whilst another may bite his lower lip. Recognising body language takes a lot of experience and time in various rehearsal rooms. Having worked with the performer on other productions makes this process easier with every new occasion that you work with them. Some performers prefer to simply walk offstage to you and read the line directly from your Book. This holds up the proceedings slightly but avoids the audience hearing you, it may also look as if it is part of the action, if done subtley and in the correct context. Line Runs On occasion individual cast members may ask you to go over their lines with you, this is a courtesy and not part of the standard DSM remit, however it does acquaint you with the performer in question. A Line Run is usually conducted when the Director is absent from Rehearsals for whatever reason. The DSM is usually left in charge of these sessions and will correct any mistakes made by the cast. It is also quite common for the cast to have a line run if there has been a day off between performances e.g. Sunday. Depending on whether you are busy or not, you should provide a room for this run (usually a Dressing Room will suffice) and decide whether it is beneficial for you to attend or not. Provisional Settings List As props get added, you should begin to compile a Provisional Settings List. This will eventually be handed to your Stage Manager (prior to the Technical) for them to complete before the 1st Dress Rehearsal. A provisional settings list, as the name suggests, is simply a non-exhaustive list of where all the set dressing, furniture and props are preset. It is important that the Stage Manager gets this list prior to the Technical so the SM Team can begin to set up. The more detail that you can put on the list, the better as this will lessen the workload on your Stage Manager later on in the process. Fig.18 is an example of a full Settings List, as would be produced by a Stage Manager from the DSMs Provisional List. I have included this to give you an idea of how the Provisional List should be set out, though it would not be as detailed, many of the items that werent in Rehearsals can only be added after the Technical Rehearsal.
John Wilkie 2005
42
Fig.18.
Filth
Settings List
Set:
Wall Carpet Scaffold Cage (With Flap & Water Drop full) Sink Unit (Behind Cage) Coat Stand (on U.S.L. corner of carpet) Traffic Cone on top. Water Tank Full (On Shelf Behind S.L. Wall) Table (C.S.) Swivel Chair (Against O.S. corner of Filing cabinet) Filing Cabinet Locker (On P.S. Pros.) Light box & Shut Blinds (On Wall) Xmas Tree (with Coloured & White Lights)
Flies:
2x Coolie Lamps (Big above Corner of Wall. Small above Hi-Fi) Snow Dropper (With 3x Small handfuls of snow)
On Table:
10 9 13 6 8 7
1. Cream Phone\Answer Phone 2. Plate of Biscuits (x5) Napkin on top. 3. Pot with Pens & Dry Wipe Marker. (under front edge of lightbox). 4. Remote fro T.V. 5. Whiskey Tumbler. 6. Gap for Tam to sit. 7. Fax Machine with Memo in Front Slot. 8. Out Tray with Few papers & Scissors (set fward of lightbox) 9. In Tray with Papers & Rubber Stamp. (set fward of lightbox) 10. Black & Blue Binders. 11. Red Phone (Stuck Down). 12. White Pad, Silver Pen & Reading Spectacles. 13. Efan Wurie File under front flap of beige paper folder. Photo in 2nd page & blue Tac on back.
John Wilkie 2005
43
Under Table:
3 B
1. 2x Cardboard Boxes (Big one on top) with: A: Round Whiskey Bottle Full. B: Pint Glass Full (Real Beer). 2. Bomb Tank & 2x Small Maroons (Primed) 3. T.V. on stand with birdie inside (facing U.S.) and coiled cable 4. 2x Traffic Cones (on top of each other) Metal Bin (Right of Table) Pool Cue Leaning against S.R. end of Light Box. Black Suitcase (S.L. side of Filing cabinet) with: Police Hat on bottom left side of case. Shoes (laces undone) on right side of case. Jacket folded and unbuttoned. Black Tie. White Shirt (top 2 buttons undone) folded. Trousers on top (unzipped) with belt. Case closed with buckles through loops but loose.
Filing Cabinet:
Hi-Fi on top (near back) decks closed & empty. Photo of Stacey in frame (in front of Hi-Fi) Top Drawer: Kit-Kat in box (1x finger wrapped in foil) Empty Tape Boxes. Deep Purple Tape (in Box) Another tape (not in box). Strategy folder in first sleeve) Folder with: Photos of Begby (SB), Setteringtam (AM), Gorman (AJ) & Ocky. Dressing papers behind. 2x Red Tinsel. Frank Sidebottom Puppet (Head D.S.) Small Vodka Bottle (white tacked to inside of drawer.) full of water. No top. Triangular whiskey bottle full.
2nd Drawer: 3rd Drawer: Bottom Drawer:
Xmas Tree (S.R. of Filing Cabinet) with white & coloured lights on it. Cable neat & coiled) Santa hat on top.
John Wilkie 2005
44
Stage Management 2: Deputy Stage Manager Handbook Small Pinboard ( behind tree) with: Various dressing. Photo of Amanda Drummond, behind elastic on bottom left. 2x Balloons (1x long, 1x round) above small pinboard. Flip Chart (On O.P. Pros) Chart closed. What does racism mean to you? on 1st blank page (blue tacked). Black Marker on small shelf at bottom. Tesco Bag with shopping & 4 Blank Videos. Deer Stalker Hat (in front of bag). Hook & Ladies Coat. Fart Machine (on) Football Photograph. Golf Club (O.S. Hook) Shotgun (broken) on off stage hook. Mirror (at top on hook) Photo of Lennox\Bruce. White card as backing. Hammer in clear bag. Tied with evidence tag Lipstick & Eyeliner (in small box) Left ladies black shoe. Wig on smaller part of hook. Dress on big part of hook (in front of wig) Tights (over top rail). Right ladies black shoe (behind dress) Fire FX. Cocaine wrap\Credit card\ Silver straw. Key glued into hole. Door Closed. Sink (cold tap working)\plug in hole\nailbrush White hand towel (on rail under) Bucket under sink (to catch water) Extra bit of black Gaffa (on U.S. of O.S scaff bar @ head height). Cardboard Box (leaning against bottom of cage vertically, bottom facing D.S) with various rubbish & Dressing Gown inside, on bottom. Dartboard (on floor) S.L. of table with 3x Darts. Edinburgh Map (behind cage) with: 8x white tac (various places, quite high up) Pins at various places. Pin at Craiglockhart. John Wilkie 2005 45
Locker:
On Top: U.S. End: D.S. End:
Back of door: Inside : Top Shelf:
Middle Shelf:
Bottom Shelf: Door:
Cage:
Light switch S.L. of Edinburgh Map (set in up position). Scotland Map (S.R. of table)
P.S. Props Table

Black Book Police Review (Fliers out) Briefcase with: Front Section: The Sun Newspaper. Middle Section: Pharmacy bag & Vermolax Bottle. Back Section: Sunday Mail (Article\Photo of Tam stuck on pg 5) Deli bag & Sausage roll in napkin\Plastic brown coffee cup with lid & coffee (1\4 full) Towel Water & Cups
Prompt Desk:
Firing Pistol and caps.
Behind Set:
Smoke Machine behind U.S.L. corner of wall. Smoke Machine remote at prompt corner. Control for Blind C.S. behind wall. Maroon firing mechanism at prompt corner.
Dressing Room:
Suit Jacket with: Photo of Sinky (white tack on back) inside pocket. Wallet with photos of: Lorna Lise Kate Chad Helga Fart Machine remote control.
Suit trousers with:
Overcoat with Police I.D. Badge in Left hand pocket.
John Wilkie 2005
46
Stage Management 2: Deputy Stage Manager Handbook Provisional Running List The best time to finalise your Provisional Running List is when the cast run the show in rehearsals, indeed it is the best time to also complete all of your provisional lists. As you know an individuals Running List is a complete list of duties that they have been assigned during the run of a production. A Provisional Running List is a general list, created by the DSM in Rehearsals for all of the SM Team. Starting from the beginning of the play, the DSM lists all tasks that are obviously Stage Management tasks, an example of a Provisional Running list follows (see Fig.19). A copy of this list should be handed to your ASMs and SM prior to the Technical Rehearsal. This list is created to give the SM Team something to start the Technical with. No member of the Technical Team on the production should begin a Technical Rehearsal with a blank note-pad, it is the DSMs job to ensure that they have something to work from. I have listed a number of points to aid you in laying out your Provisional Running List. When you list a task, ensure that you add what page the task occurs on. This gives the user an idea of how long that they have between their cues. Give an outline of Scene Changes in your list. Again, you can only list what you have encountered in rehearsals or bits and pieces of detail that you have picked up along the way. List Fly Cues. This gives everyone using the list very definite visual markers as to where they are in the script. List where these tasks happen, even if it is a very general location i.e. Prompt Side, Stage Right etc the more detail the better. List any Actors that are involved in, or may be affected, by the cue. Leave space in your layout for the user to note their own changes. Provisional Fly Plot As with any of the Provisional Lists that you compile as a DSM, the Provisional Fly Plot relies on the information at your disposal within Rehearsals. The information for both the Provisional Fly Plot and the Sound Plot (see next Provisional Sound Plot) will often have to be coaxed out of your Director in order for you to present the finished list to the relevant parties, before the Tech. A meeting to ascertain cue positions, with the Director and yourself is extremely helpful and this can include Sound, Fly and any other miscellaneous cues that the Director has pre-planned. There is little point in adding LX cues at this meeting as they will all be set during the LX Plot. Fig.20 is a half decent example of a Provisional Fly Plot. It is useful to add page numbers onto this list for the same reasons set out in the Provisional Running List section.
John Wilkie 2005
47
Stage Management 2: Deputy Stage Manager Handbook Provisional Sound List Following the same restrictions as the other provisional lists, compiling a Provisional Sound List is only as good as the information provided from rehearsals. Having said that, it is better to hand in a list with only one cue on it than with none at all. (Fig.21 depicts a typical Provisional Sound List). Again, a meeting with the Director would be ideal at this stage. The chances are that your Assistant Electrician or Sound Designer will have a full list compiled by themselves, from various sources, this need not matter. The very least a Provisional List will provide would be to ensure that cue numbers match that of others and that nothing has been missed by either party. A General Note on Provisional Lists These lists aid in the more efficient running of the Technical Rehearsal and subsequently the Dress Rehearsals and actual performances. After the lists have been compiled it is advised that the DSM talk through them with the relevant departments, updating them where information that the DSM was not privy to, has been omitted. The end result should be that the DSM has matching cue numbers with that of the department in question. It also serves to bring up any omissions or discrepancies in information between the DSM and the Sound, Fly and SM departments. The Provisional Running List is the only example where the Directors input isnt usually required. This list is normally compiled solely by the DSM and their knowledge of Stage Management.
John Wilkie 2005
48
Stage Management 2: Deputy Stage Manager Handbook Fig.19 Backstage Hell Provisional Running List Pg 1 Pg 4 Mr Macluskie enters U.S.L with breakfast tray. Page curtains for Mr Macluskies exit.
Pg 12 Move 6 x suitcases from S.L. Props Table to S.R. Props Table Pg 12 Fly Q 1: Starcloth IN. Pg 14 Fly Q 2: Starcloth OUT. Pg 20 Tray of candles on D.S.L: Mr McCall Pg 21 Act One Scene 3 Scene Change into Act Two Strike candles Strike Bed Truck Strike Magazines from couch Move S.L. Bentwood Chair to D.S.L marks. Set Handbag with hanky, lipstick & letter from Mary on coffee table. Fly Q 3: Blood cloth IN (when bed truck is OFF) Miss Dmeanar on C.S.R with shopping trolley (page blacks).
Pg 24 Fly Q 4: Blood Cloth OUT Pg 27 Miss Dmeanar exits through auditorium, unlock pass door for quick re-entrance U.S.L Pg 31 Fly Q 5 4x Trees IN Pg 36 Interval Change Strike couch Strike coffee table Strike shopping trolley Strike rug Set 2x urinals Set 4x Wash hand basins Make coffee for tray
Pg 37 Mr Macluskie quick change U.S.L into formal evening wear. (45 seconds) Pg 43 Fly Q 6 Black Cloth & Border IN Pg 44 Statue of Christ set U.S.C behind Black Cloth Pg 49 Fly Q 7: Black Cloth & Border OUT
John Wilkie 2005
49
Stage Management 2: Deputy Stage Manager Handbook Fig.20 Backstage Hell Provisional Fly Plot Pg 12 Fly Q 1: Starcloth IN
Pg 14 Fly Q 2: Starcloth
OUT
Pg 21 Act One Scene 3 Scene Change Fly Q 3: Blood cloth IN
Pg 24 Fly Q 4: Blood Cloth
OUT
Pg 31 Fly Q 5 4x Trees
IN
Pg 36 Interval
Pg 43 Fly Q 6 Black Cloth & Border
IN
Pg 49 Fly Q 7: Black Cloth & Border
OUT
John Wilkie 2005
50
Stage Management 2: Deputy Stage Manager Handbook Fig.21 Backstage Hell Provisional Sound List Pg 1 Pg 1 Pg 3 Pg 4 Pg 5 Sound 1 Sound 2 Sound 3 Sound 4 Sound 5 Pre-show Music IN Pre-show Music OUT Dog Bark Music IN Music OUT Music IN Born Slippy - Underworld Snap OUT U.S.R Fly me to the Moon Slow Fade Chopin (?)
Pg 23 Sound 6 Pg 25 Sound 7 Pg 33 Sound 8 Pg 36 Sound 9 Pg 36 Sound 10 Interval Pg 36 Sound 11 Pg 36 Sound 12 Pg 43 Sound 13 Pg 43 Sound 14 Pg 49 Sound 15 Pg 55 Sound 16 Pg 63 Sound 17 Pg 65 Sound 18 Pg 65 Sound 19
X Fade Chopin into Long Drone Mobile Phone IN Long Drone OUT Interval Music IN Snap OUT after 6 rings Slow Fade OUT The Prodigy (selected tracks)
Interval Music X Fade with Redemption Song Redemption Song OUT Music IN Music OUT Music IN Music OUT Train Passing IN End of show music IN End of show music OUT Quick Fade OUT Benny Hill Music Snap OUT Long Drone Fade IN Long Drone Fade OUT Pans U.S.L to U.S.R TBD
John Wilkie 2005
51
Production Week
John Wilkie 2005
52
Production Week
This stage of the process is the most demanding week in the DSMs remit, both mentally and physically. Long hours and missed breaks are common place, stress levels often reach fever pitch and working relationships are put under strain. This is the point where all the weeks of pre-planning and preparation are put to the test. Some of the most drastic changes can happen during this process and you can find yourself having to re-think a great deal of your strategies and systems, sometimes from scratch. During Production Week, every department steps up a gear, there is a flurry of activity from all areas and there can be an atmosphere of confusion and chaos all around. This can often take a DSM by surprise, especially if the last several weeks in rehearsals have been slow moving and carried out at a steady pace. A standard production week breaks down into the following sessions Fit Up LX Rig LX Focus LX Plot Technical Rehearsal Dress Rehearsal Opening Night The Run Fit Up A DSM is normally still in rehearsals during the fit up, if not then your SM will probably need you at some time prior to the fit up starting to help marking out the set onstage. In most theatres this process is carried out by the workshop or the Technical Manager, in RSAMD the Stage Management Team do it. It is advantageous to occasionally keep an eye on the set elements as they go in. You can then alert the Director of any potential problems that may involve re-blocking etc LX Rig Again the DSM in normally still in rehearsals at this point. There is no real part for the Stage Management Team to play during the LX Rig, unless of course you have nothing else to do, then you can lend a hand. LX Focus The only part that you may play in this process is to ensure that either the marks for any furniture/set pieces are laid for the LX Team to focus on or the items themselves are available. If the LX Designer requires the actual furniture then stand in items will have to be found for Rehearsals. Check with your Director prior to removing any items from Rehearsals.
John Wilkie 2005
53
Stage Management 2: Deputy Stage Manager Handbook LX Plot This is usually the beginning of the Production Week for the DSM. Unless there is an emergency, then that is the end of rehearsals and most of your work will now be carried out onstage. The LX Plot is used to add any missing cues to the Book. It is also a good time to add Stand Bys and Calls to your Book. Depending on the speed that the LX Designer and Director work then you should have enough time to add these elements, of course the main reason for this session is to create lighting states for the production, this is where your blocking may be needed. Adding Cues As the Director and LX Designer (LD) plot the productions LX states, you can begin to add these cues to the Book, ensuring that your cue numbers and that of the LD are the same. Any of the following abbreviations can be used to mark in cues: LX SND Fly AV SM FX Lighting Sound or SD, Sound, SX Flys Audio Visual Stage Management Effect f/o b/o Follow On Black Out
As you add your lighting cues you can also add your Stand Bys (SBs) in. The length of time that you give for a Stand By depends on the pace of the performance on that particular page of the script. A general rule of thumb is to leave a minimum of 4 or 5 lines and a maximum of half a page between the SB and the cue. Stand Bys can always be shortened as you become more familiar with the cues during the performances. If there is a Fly Q is involved in the sequence then give the entire sequence a little bit longer. This is due to the Flyman having to get to the relevant bar and releasing the break. When writing in several cues that go at the same time then group the cues using brackets e.g. LX 25 Fly Q 5 GO
A small note, in brackets next to the cue, will remind you of what the cue is. The downward pointing arrow shows that the e.g. (10) LX 25 cloth is coming in. The number in brackets GO shows the fade time of the LX cue. (Starcloth ) Fly Q 5
John Wilkie 2005
54
Fig.22 Blocking
Stage Management 2: Deputy Stage Manager Handbook Calls & Stand Bys Call: This is you call Mr Hart. Mr Hart this is your call. Thank you. Cues
M xs DSL to Gs L
S/B LX 23 26 Sound 12 & 13 Fly Q 5

5
H xs USL to chair. G steps DSC.
H sits (facing U.S)

(Low Drone)
LX 23 Sound 12
GO
LX 24
GO
(Starcloth
LX 25 Fly Q 5
GO
(Low Drone )
LX 26 Sound 13
GO
20 H & G exit USL Ho steps to M
Fig.22 shows a Prompt Book page, complete with Blocking, Calls and Cues. As with blocking, cues and calls should be written in pencil. 55
John Wilkie 2005

Ghost beckons HAMLET HORATIO It beckons you to go away with it, As if it some impartment did desire To you alone.1 MARCELLUS Look, with what courteous action It waves you to a more removed ground: But do not go with it. HORATIO No, by no means. HAMLET It will not speak; then I will follow it. HORATIO Do not, my lord. HAMLET 5 Why, what should be the fear? I do not set my life in a pin's fee; And for my soul, what can it do to that, Being a thing immortal as itself? It waves me forth again: I'll follow it. HORATIO What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, 7 Which might deprive your sovereignty of reason And draw you into madness? think of it: LX 23 The very place puts toys of desperation, Sound 12 Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath.
LX 24
HAMLET It waves me still. Go on; I'll follow thee. MARCELLUS You shall not go, my lord. HAMLET Hold off your hands. HORATIO Be ruled; you shall not go.
LX 26 Sound 13 HAMLET My fate cries out, And makes each petty artery in this body As hardy as the Nemean lion's nerve. Still am I call'd. Unhand me, gentlemen.9 By heaven, I'll make a ghost of him that lets me! I say, away! Go on; I'll follow thee. LX 25 Fly Q 5
Fig.23 shows the script side of the above cuing sequence. Clearly mark the word onto which the cue goes on and it is helpful to re-write the cues on this side also. Drawing lines across the two pages to link to the cues is optional.
Exeunt Ghost and HAMLET
John Wilkie 2005
56
Stage Management 2: Deputy Stage Manager Handbook Taking a Cue from a Move Cuing from a move can be tricky to mark down in your Book. Linking to the Blocking column may seem the obvious way to write your cue in, but this method tends to lead to a confusing array of lines and is difficult to edit (you may rub out your blocking in the process). I have listed (below) one possible layout Blocking
1
Calls & S/Bs Call: This is you call Mr Hart. Mr Hart this is your call. Thank you.
Cues
M xs DSL to Gs L
H xs USL to chair. G steps DSC.
S/B LX 23 26 Sound 12 & 13 Fly Q 5
Try to avoid cross referencing cues with moves in the Blocking column. Instead write them directly in the Cues column.
(as H xs to chair)
H sits (facing U.S)

(Low Drone)
LX 23 Sound 12
GO
LX 24
GO
(Starcloth
LX 25 Fly Q 5
GO
20 H & G exit USL Ho steps to M
(Low Drone )
LX 26 Sound 13
GO
John Wilkie 2005
57
Calls have traditionally been treated as a courtesy gesture between Stage Management and the cast. I believe this to have changed over the years and most DSMs add them by default now. Depending on the distance between the Dressing\Green Rooms and the stage, calls are normally between 2 to 3 pages long i.e. 2 to 3 pages prior to the cast members entrance. Another factor, again, is the pace of the performance and this should also been taken into account. Lists of names should be alphabetical so as to not give emphasis on any one performer over another. First names should never be used and the prefixes Mr, Miss & Ms are standard (Mrs is never used). In a professional theatre it is rare to find the backstage technical staff in the wings, during a production for the entire show after the 2nd or 3rd night. They are usually to be found in the Stage Management Office, Crew Room or Green Room. They rely on your calls to summon them to the stage in good time before their respective cues. Try to keep these calls cue specific and add the department wherever practical. e.g. Stand by Stage Management for door slam Stand by for Scene Change etc
After a while the technical team will learn to pick up points in the performance themselves to mark where they are in the play, as they can usually also hear the show relay from where they are. Even so, it is still advised to keep calling them until the end of the run, just in case. An example of several typical backstage calls are as follows Beginners Calls Actors Calls Scene Change Calls Interval Calls Very Loud Bangs Emergency Calls Calls for major individual cues.
It is also standard practise to repeat the call, in order to avoid it being missed the first time around. On the following pages I have listed a standard set of Backstage and Front Of House Calls that we use in the Academy.
John Wilkie 2005
58
Stage Management 2: Deputy Stage Manager Handbook Standard Backstage/FOH Calls
6.55pm
Backstage: Good Evening Ladies & Gentlemen. This is your half-hour call. You have 30 minutes. Thank You. Backstage: Ladies and Gentlemen, this is your 15 minute call. You have 15 minutes. Thank You. Backstage: Ladies and Gentlemen, this is your 5 minute call. You have 5 minutes. Thank You. Backstage: Ladies & Gentlemen, this is your Act 1 Beginners call. Stand By Miss Anstey Miss Butterfield Mr Connolly Miss Garland Miss Harrington Miss Anstey Miss Butterfield Mr Connolly Miss Garland Miss Harrington This is your call. Stand By.. Stage Management, LX, Sound, Flies, Dressers & Crew (add/remove departments as necessary) Stand By please Stage Management, LX, Sound, Flies, Dressers & Crew Thank You.
7.10pm
7.20pm
7.25pm
John Wilkie 2005
59
Stage Management 2: Deputy Stage Manager Handbook 7.26pm FOH: Good Evening Ladies & Gentlemen. Welcome to The Royal Scottish Academy of Music & Drama. Please take your seats as this evenings performance of (Name of show) will commence in 3 minutes. Thats 3 minutes. Thank You. Backstage: 3 minutes until lights up ladies & gentlemen. 3 minutes until lights up. Thank You. 7.27pm FOH:| Ladies & Gentlemen. Please take your seats as this evenings performance of (Name of show) will commence in 2 minutes. Thats 2 minutes. Thank You. Backstage: 2 minutes until lights up ladies & gentlemen. 2 minutes until lights up. Thank You. 7.28pm FOH: Ladies & Gentlemen. Please take your seats as this evenings performance of (Name of show) will commence in 1 minute. Thats 1 minute. Thank You. Backstage: 1 minute until lights up ladies & gentlemen. 1 minute until lights up. Thank You. 7.29pm FOH: Ladies & Gentlemen. Please take your seats as this evenings performance of (Name of show) is about to commence. Thank You. _____________________________________ Backstage Lights Up on Act 1 ladies & gentlemen. Lights up on Act 1. Thank You.
Shortly after show has started, in a free Space. Cast Performance Calls
This is your call
Miss Anstey Mr Connelly Miss Anstey Mr Connolly This is your call. Thank You.
John Wilkie 2005
60
Stage Management 2: Deputy Stage Manager Handbook At the end of the show, when the stage has cleared and the cast are all in their Dressing Rooms, please add the following call: Ladies and Gentleman, this evenings performance ran at (add running time), may I take this opportunity to remind you of your next call, which is (add next call). Thank You. Technical Rehearsal The Technical Rehearsal is the culmination of all of your work thus far. It is your time to learn and fine tune your cues, practise complicated sequences and put all of your preplanning to the test. All of the shows elements should be ready for the Tech, it is the common deadline for all departments. Depending on the Stage Manager that you are working with, there are two main ways of managing a Tech, they are as follows Method 1 The SM runs the Technical Several Theatres adopt this system, as it would seem to be the obvious method. After all, it is ultimately the Stage Managers responsibility to ensure that the show runs as smoothly as possible. All the DSM has to do is to concentrate on cues and their Book. This method is used almost exclusively by Opera. Radio Cans have made this method much easier to accomplish, as the SM is no longer tied to a wing and can still communicate with all of the productions operators. In most circumstances, Radio Cans are not a viable option (mainly due to cost) and wired cans have to be used. Please see Stage Management 2: Stage Manager Handbook for further details on this method. Method 2 The DSM runs the Technical This system has a number of advantages and a few disadvantages. The main disadvantage being that a lot is asked of the DSM during this process as they have to cue the show and run the Technical. However, this is no more than the DSM was doing during rehearsals. The advantage here lies with the fact that the DSM is better placed than the Stage Manager as they have a better understanding of both the show and of the cast. This is due to the fact that they have been in rehearsals learning the production for the last several weeks. Running a Tech is tantamount to crowd control, especially where a large cast is involved. The first thing is to ensure that everyone is there and ready to go at the scheduled time. That includes both actors and backstage staff. The longest part of any Tech is normally always the beginning sequence, how long this takes is often an indicator of how smoothly the rest of the session will run. I find it useful, time allowing, to memorise the opening sequence, especially if the show has a complicated beginning.
John Wilkie 2005
61
Stage Management 2: Deputy Stage Manager Handbook Fig.24 The Prompt Desk
PAGING
PANEL LIGHTS
SEQ
BLUE OFF WHITE
00:00:23
Display Reset Start/Stop
STOP SPLIT RALLY
EFFECTS STAGE
BT OFF Cont.
BUSY WHEN LIT
READY
LV
ON OFF (ON)
TEL
FOH
Dressing Rooms
RING INTERCOM
LX
SND FLIES
USL
A B CALL A A-B B
Volume
ON OFF (ON)
Master (ON)
ON OFF (ON)
RING SELECT
-NORTHERN LIGHT-
The Prompt Desk The Prompt Desk is most commonly found on Prompt Side (Stage Left), though in a few venues it is found on Opposite Prompt, when this occurs it is known as Bastard Prompt. The prompt desk is the epicentre of operations during any production and should be looked after by the shows DSM. It should remain free of any clutter and kept free of any liquids. Fig.24 shows the layout of a typical prompt desk. John Wilkie 2005 63
Stage Management 2: Deputy Stage Manager Handbook A H

00:00:23
K J B C L
E G
M N
A: Panel Lights Switchable between open white or blue bulbs (for show conditions). B: Effects LV Button The Low Voltage Button is used mainly for pyrotechnics. C: Telephone Ringer is used to cue live telephone rings you can choose either a conventional BT ring or a continuous ring. D: Call This button will flash when another person on cans wants to attract your attention. Push this button and it will flash on all of the cans sets that are operational. E: Volume adjusts the volume of your cans headset. F: Ring Select Most cans systems have at least 2 different rings or channels. Usually one is reserved for LX and the other is for everyone else. You can switch between rings if required or have both on at the same time. G: Microphone This switches your cans microphone on and off or continuously on. H: Clock Functions These buttons control all of the clock/stopwatch functions on the desk. They are self explanatory. I: Microphone For Backstage & FOH Calls. J: Paging Buttons These buttons control which areas that your calls are sent to. The Stage button is usually disabled on most prompt desks. K: Red Stand By Lights These array of red lights are for putting your operators on Stand By. The light will flash until the operator presses the button on their Q-light box, making it a constant red. This action alerts you to the fact that the operator is standing by. L: Red Stand by Buttons These buttons are used for putting your Stand By lights on. Flicking them downwards allows you to do this. M: Green Go Lights These lights are used for activating your cues. When the green light is lit, indicates that a cue has been given. N: Green Go Buttons These buttons are used for alerting the operator(s) that a cue has been given. Flicking them downwards allows you to do this. Flicking them upwards allows several cues to be triggered through the Master button (labelled) at the end of the array. Fig.24. shows a scaled up version of the Prompt Desk with all of its features labelled.
John Wilkie 2005
64
Stage Management 2: Deputy Stage Manager Handbook Operating the Desk It is standard in most reputable companies for the DSM to cue both verbally and nonverbally (i.e. Cue Lights). The cue lights are a back up in case the cans system fails. These should be used all the way through the process, in order for the DSM to get used to them. Cueing verbally and operating cue lights can be a bit like singing and playing the piano at the same time. It takes a bit of time to get used to, but becomes second nature, with practise. The following is a list of professional protocols, used by the industry, for DSMs when beginning a cueing sequence. Visual Cues i.e. Example those cues taken by an operator and Verbally: Stand By LX 21 thru 24 (LX 22 being visual) not cued by the Sound 15 and 16 DSM should be Fly Q 4 given Stand Bys nonetheless. It is Thank You also a good tip to give the operator a Cue Lights Flick LX, Sound & Fly Red Stand By description of Buttons what happens immediately Operators (Verbally) Standing By before the cue happens, to remind Operators Click their cue light box button. them. When all of the operators have acknowledged both verbally and through their stand by lights, you are ready to cue the sequence when the cue line or move arrives in the script. A few words before the cue line begin to say your first set of cues in the sequence. On the actual cue word or move, simply say GO! Example Just before cue (verbally) LX 21, Sound 15(cue arrives).GO!
And so on, with the rest of the cues in the Stand by sequence Their may be a pause between saying LX 21, Sound 15.and the cue line, this doesnt matter. It is very difficult to try and time it so you say the whole line in one unbroken sentence, this may also take the operators by surprise. They will sit poised in the gap, as long as it is only a few seconds.
John Wilkie 2005
65
Stage Management 2: Deputy Stage Manager Handbook Paging Microphone When doing Backstage or FOH Calls keep your mouth approximately 10 12 away from the microphone, the Prompt desk microphone is extremely sensitive and doing this will avoid deafening those backstage and FOH. Etiquette on Cans It is part of the DSMs remit to maintain discipline over cans, this means cutting out any unnecessary chatter and focussing the operators on the job at hand. There should be NO chatter on cans during stand bys, unless it is absolutely crucial i.e. a problem has developed with the imminent cue. Operators should ask the DSM if it is OK for them to talk at all times (not just during Stand Bys). Backstage Calls should not be attempted during Stand Bys as there is little time when a sequence is upon you.
More Cans Etiquette : "Quiet on Cans please" other operators must respond with silence. "Going off Cans" when any operator leaves their headset Back on Cans when any operator returns to their headset. "Standby LX Q 11" operator responds : "Standing By" "LX Q 11 Go" operator may respond "Running" if its a cue which is not obvious, or is a long fade. It is very important that the "Standby" is given at the start of the phrase, and the "Go" is at the end of the phrase. "Go" is the only word that can be used to initiate a cue. "Fade", "Stop" are NOT appropriate.
Switch your cans off when you arent using them.

Volume The headsets are extremely sensitive, and can detect the slightest whisper. All operators should talk quietly, so that you can all turn your headphones volume up high.
Try to take the operator off Stand By at the earliest your earliest possible convenience by flicking off their Stand By light. This is especially pertinent to Technical Rehearsals as it is easy to forget to take them off Stand By due to a stop in the proceedings. When giving a GO on cue light do not flick the green on and off rapidly, this can be easily missed by the operator, wherever possible hold the green button down for a few seconds or more, this becomes difficult if the operator has a lot of quick-fire cues in succession.
John Wilkie 2005
66
Stage Management 2: Deputy Stage Manager Handbook Holding Inevitably, at some point (usually after the first cue) there will come a time when either the DSM, Director, operator or cast member will hit difficulties and have to stop. The DSM should then shout out clearly HOLD! and everyone (including Actors) should freeze in the position that they are in and not progress any further. The reason for the stop should be given to the Director, usually through the Stage Manager. There is nothing more annoying to a Director than being left in the dark, this could lead to frustration and eventually bad temper. Several reasons why a Tech should stop Techs can stop for a myriad of reasons and by several departments here are a few examples. Directors changing their mind Missed cues Mistimed cues Mechanical failure of a set element Actors drying Prior to a pyrotechnics being fired Prior to a complicated set element being used.
There really are too many reasons to list. Restarting When recommencing, stand all of your operators by first then give the cast a line to start with. Try not to go too far back, a few lines before the cue will usually suffice. When all of the cast and operators are ready and the scene has been set back to the point you want, shout In your own time. Thank You! (or something similar) and away you go. Remember that the technical rehearsal is not only for technicians, it is also for actors to rehearse with any technical elements in the production. This includes basic elements such as treads, ladders, rakes etc They may be wearing awkward shoes for the first time or an unwieldy period dress. All of these issues should be considered before complaining that the Tech has stopped yet again for acting notes! However, the Technical should not be used for in depth notes pertaining to character development or changes in blocking that could have easily been altered in a rehearsal room. Again, gauge the Director and make a decision on whether you should politely urge the cast on, or not. It is often a fine-line to tread. When running a Tech it is important to keep the cast enthused in order to urge the proceedings along, it is easy to allow lethargy to sink in, mainly due to tiredness. There is a real skill in doing this, especially when you are tired yourself and it is easy to lose focus. It is a catch 22 situation in many cases as tiredness leads to mistakes through lack of concentration, the more mistakes that are made the longer the session will last. It can be self-defeating. Ensure that breaks are kept (see the equity rulings section) to allow everyone a rest-byte from proceedings and make sure that everyone takes their statutory breaks. A tech session usually only lasts a day, with a bit of an John Wilkie 2005 67
Stage Management 2: Deputy Stage Manager Handbook allowance given for any overspill the following day. The pressure is usually at its highest during these sessions, especially on the Director, who will want the Tech over as soon as possible in order to be ready for the Dress Rehearsals the next day. The whole schedule can be knocked out of shape if these sessions over-run. The Production Manager, who constantly has an eye on the overtime budget, is also under pressure. All of these pressures siphon down to the technical team and especially the person who has been charged with running the Technical. i.e. you. Dress Rehearsal Once the Technical is over and all of the shows technical issues have been rehearsed to everyones satisfaction, a series of full onstage runs commence. Ideally, two Dress Rehearsals are the minimum that you would want prior to opening. This will depend on the schedule and how the Technical ran. The main aim of a Dress Rehearsal is to run the show, in its entirety, without stopping, under show conditions. One major point to watch out for when attempting the first Dress Rehearsal is to be aware that this is the first time that the show has been run to speed. Cues will come thick and fast and can take the unprepared DSM by surprise. Concentration must be at its highest during this session, time allowing, try to read ahead of where you are at in the Book to anticipate the next set of cues, remembering to keep your eye on the script for actors drying etc. Anticipating Cues Anticipating a cue is an exercise in timing. By knowing the pace and underlying rhythm of the performance you can pull cues back a few words or seconds in order to make up for the lag that occurs between you saying GO! and the operator starting the cue. This is especially important when cueing a flying piece, it often takes a few seconds for a flying piece to be seen after the cue has been given, you must anticipate this and pull the cue far enough back for the flying piece to be seen by the audience exactly on the cue point that the Director wanted. Example
HAMLET It waves me still. Go on; I'll follow thee.
LX 25 Fly Q 5
The director wishes for FlyQ 5 to be visible on the word thee, it takes 2 seconds for the bottom of the flying piece to clear its header and be seen. In order for the cue to not be late and depending on the speed of the piece, you can anticipate the cue by pulling it back to the word on, for example.
When cueing a flying piece, try to keep an eye on it coming in, especially if there are performers under or near to it. This isnt always possible if you have a complicated sequence to follow. If you feel a flying element is too fast or slow then tell your Flyman to speed up or slow down, accordingly.
John Wilkie 2005
68
Stage Management 2: Deputy Stage Manager Handbook The Show Report The Show Report is not a mechanism for chastising your fellow technicians, nor is it solely for technicians errors to be reported. It is a report of any incident that has not been rehearsed prior to the first night. 100% honesty is required when adding to the Show Report. I have attempted to list some of the more common incidents that you may find in a Show Report Set pieces\LX\Sound equipment failing or malfunctioning Operator Errors DSM Cueing Errors Actors missing or improvising lines Actors missing or being late for entrances Actors corpsing Round of applause (R.O.A) for performance R.O.A for designs R.O.A for cue sequences Number of curtain calls should be listed (if any) Standing Ovations Heckling Audience complaints
Your first Show Report should be compiled and distributed after the first Dress Rehearsal, though at RSAMD this has been moved to the second. I have changed this due to the volume of errors that tend to happen during the first Dress Rehearsal, the DSM would be their all night writing all of these down. This occurs simply because of a lack of experience within the Company. As I have mentioned earlier, the Dress is the first time that the production has run to time, cues will seem to hit you and your operators at break-neck speed and the risk of making an error increases. Having an ASM in each wing can aid you in filling in a Show Report, use them as an extra pair of eyes and ears, along with your Stage Manager. At the end of the show, sit down with the rest of the SM Team for 5 minutes and take down anything that they have noted. It is the DSMs decision (in consultation with the Stage Manager) as to what goes in the report, a good SM will work with you to prepare a fair report. The Show Report should contain only facts, there is no room for personal opinions or feelings. In some Theatres, the Show Report is a book that is to be filled out, it is then left in the Stage Management office for all to access. In the Academy we fill in a report form and then distribute these reports to the relevant staff. As there is no communal report book for all to reference, it is imperative that everyone in the Company has access to this document, so the cast should also have a copy emailed to them. Fig.25 is an example of a Show Report.
John Wilkie 2005
69

Production Venue Audience Date SM DSM ASM ASM ASM Notes
24Hr Fomat.e.g. 19:30
Show Report
The Marriage of Figaro Performance 4
1260 Evening David Graham Jon Morson Mark Lovell
7th Feb 04 Kate McGeary Angie Garland Kate Frost Elisabeth Luafer Gillian Park Act 1 & 2 Interval CU 19:03 01:31 CD 20:34 00:20
Show TSM Prod.LX LX OP Sound OP
Act 3 & 4 CU 20:54 CD 22:14 Playing Time 02:51 Running Time 03:11
01:20
Notes R. O .A for every Aria and end of Acts A Ladder slipped in the Act 1 into Act 2 Scene Change Mr Mann 10mins late for the Half LX 23 late DSM Error LX 34 late DSM Error LX 56 late Mr Lovell Op error Mr Leegoh (TSM) missed 2nd Scene Change Miss Blativasky (TSM) did his cues 2 Curtain Calls
Signed
Angie Garland
John Wilkie 2005
70
The Run
John Wilkie 2005
71
Stage Management 2: Deputy Stage Manager Handbook Setting Up, Checking and Starting the Show The DSM plays an integral role in both setting up and checking. The following is an example of the procedure leading up to a performance. Setting Up 16:00 Call for Set Up Set Up for show starting onstage. Buy Running Props if required. Dinner Continue Set Up
A good time to have a chat with your team. Starting at this time allows you to buy any running props or maintenance items prior to the shops closing.
17:00 18:00 Checks 18:30
Start Check Onstage first. SM Reads from a single Master Settings List. DSM Touch Checks ASM(s) act as runners Check Wings
If running late you can open the house and continue checking in the wings. Dont trust signing in sheets. Check that they are actually in their dressing rooms. Try to check their personals with them.
18:55
Half Hour Call DSM Calls the half DSM Checks Personals & Actors DSM returns and checks Prompt Desk & Q-Lights. DSM tells SM that their checks are complete. SM announces that the house is now open backstage. SM Opens House
19:15
19:20 5 Minute Call Running The Show 19:25 Act One Beginners DSM Calls Beginners ASM(s) Checks Beginners are in position. Three Minutes to Curtain Up Two Minutes to Curtain Up One Minute to Curtain Up FOH Clearance DSM Stand Operators By. ASM(s) Stand Actors By verbally. SM lets DSM know to start the show.
19:26 19:27 19:28 19:30
John Wilkie 2005
72
Stage Management 2: Deputy Stage Manager Handbook Opening Night After a number of Dress Rehearsals and perhaps a Public Dress and/or Preview, the pressure reaches a new and final level. This time you do it with a paying audience. This is the point that every department has been working towards. If working in a Repertory Theatre, you put aside thoughts that on the following Monday the process begins again with a new play. Adrenaline keeps your exhaustion at bay as you try to keep resolutely focussed on the job ahead. All of this on top of trying to look outwardly calm and in control One of the most common causes of human error is either exhaustion, complacency or boredom. The former is most likely to be present after a long Production Week and during the opening night. This tends to be counteracted by adrenaline. Complacency is a result of lapses in concentration often caused by boredom or exhaustion. A long run of a show alongside a script that you may personally not like, can bring boredom on swiftly. The Strike & Returns The DSM is expected to fulfil their remit by completing both the Strike and Returns. If working in a Rep theatre then you will probably have been working on the next show during the day and calling a show in the evening. Equity has very strict rulings over statutory breaks between rehearsals ending and the evening performance, familiarise yourself with these policies and try to ensure that both yourself and your cast get the required breaks. Once the show is over, your Book should be handed to your Stage Manager for filing. The Book does not belong to you, it is treated as a commissioned work that the company has paid you to compile on their behalf. It will be archived and used as a reference for future revivals or as an aid to propping Productions that require the same props or set elements. After a length of time, some companies send their past Books to the local library for public reference. If you are working on a world premier of a new piece of writing then there is a chance that your Book may be used by a publishing company to create a published version of the production. Royalties for such an undertaking usually go straight to the company that commissioned your work, though at times it is possible to negotiate a royalty fee with the company concerned. To sum up To sum up the role of the DSM is not an easy task, it is a job that can take you on a rollercoaster ride of highs and lows. The feeling of achievement after a successful opening night can leave you feeling exhilarated and extremely satisfied, yet an arduous Rehearsal and Production period can see stress levels dent your confidence and leave you both physically and mentally exhausted. So much is dependant on a DSM performing to a high standard that a Production can suffer severely if this is not the case. Remember.. With great power, comes great responsibility Spidermans Uncle (2003)
John Wilkie 2005
73
John Wilkie 2005
74

Deputy Stage Manager

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Deputy Stage Manager

Uploaded by

Copyright:

Available Formats

Stage Management 2: Deputy Stage Manager Handbook RSAMD Technical & Production Arts

John Wilkie 2005