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

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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

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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

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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 4 .

M.S.Stage Management 2: Deputy Stage Manager Handbook D. Deputy Stage Manager © John Wilkie 2005 5 .

Some prefer the DSM to simply take notes and be little more than a silent secretary to them. contribute towards artistic decisions that arise in rehearsals. Script and Actor works can make the job easier and a lot less segregated. © John Wilkie 2005 6 . Depending on the relationship created between the DSM and the Director (perhaps developed on previous productions). Little do they realise the amount of work that goes into getting to the point mentioned above.everything changes… To an outsider. looking in for the first time. cross references. the fact remains that the DSM’s role has changed over recent years. sometimes for weeks on end. It goes without saying that excellent communication skills are therefore crucial. However. the DSM role can often be an isolated one. strange text and diagrams. these numbers are repeated and a sequence of green lights flash on and off on the console in front of them. that they are more akin to Assistant Directors than simple note-takers. the role encompasses much more than simply passing on information from “A” to “B”. cowering over a large folder. others may utilise them to such an extent. from time to time. An understanding of how the Director. in the rehearsal environment. Being the only member of the technical team present on a daily basis.Stage Management 2: Deputy Stage Manager Handbook Introduction Huddled in a dark corner. organiser. A good DSM will act as recordkeeper. Whichever type of Director you work alongside. but this need not be the case. a DSM can also. 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 DSM represents the only constant link between rehearsals and all of the backstage departments that work towards the Directors vision. onstage…. the role of the Deputy Stage Manager must seem to be darkly esoteric. all culminating in an opening night of performance. technical consultant. Then suddenly. To their right. followed by an exhausting Production Week in which the rehearsal process finally transfers to the stage. night after night. a solitary figure sits. Sometimes they are heard to mutter to themselves in a language that few can comprehend. peace-keeper and motivator. prompter. Different Directors have different expectations of a Deputy Stage Manager. Weeks of rehearsals and planning. The pages of the book are littered with a bewildering selection of symbols. an odd mixture of abbreviations and numbers. It has evolved to encompass a wide range of skills which are as variable as the environments that we endeavour to realise.

Not all Theatres can afford this luxury however. Sadly. 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. apart from a basic knowledge of technical theatre gleaned through experience and more obviously. usually you will be responsible for rehearsing the larger shows in the company’s season. A DSM should be available to join the SM Team’s day to day work whenever they are not required in the rehearsal room (which isn’t often). deputising for the Stage Manager etc… © John Wilkie 2005 7 . 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. this self-nurturing system is not used as often as would be liked.01 Sometimes you will find yourself working alongside a second DSM. and you may find yourself to be the sole DSM within the department. which is also quite common. More similarities can be found between the remit of an ASM and SM than with that of the DSM. This system is a great way for ASM’s to gain experience “on The Book” and hopefully make the transition to DSM themselves in the future. Normally you will be expected to alternate shows with your fellow DSM. This may include propping.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. with both of your ASM’s alternating the others. any Books that you have undertaken as an “ASM on the Book”. There is very little in the standard ASM remit that will ready you for your first day in rehearsals as a DSM. 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 DSM’s place within a standard Repertory Theatre’s SM team structure Stage Manager Deputy Stage Manager Assistant Stage Manager Assistant Stage Manager Fig. A common misconception of a DSM is that they are only concerned with being on the Book throughout the production process.

I regard this as being the most crucial. as I have hinted at earlier. will. However. Excellent organisers do not always make excellent DSM’s or SM’s. especially when pre-planning. Excellent Communication and Interpersonal Skills. they are as follows… • • • • • Versatility. Patience and Concentration. 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. in most cases. contracts tend to be fairly open to interpretation and most clauses will simply state “as required” somewhere in them.Stage Management 2: Deputy Stage Manager Handbook Qualities There are a number of basic qualities that are essential to a DSM. An understanding of the Acting process. we are protected by the rulings of the Equity Union and is the only protection we have from unscrupulous employers. Versatility Of all the skills required by any SM Team member. Organisational Skills. 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. the ability to make snap decisions under pressure can ultimately make the difference between whether a production is successful or not. Where organisation is important. © John Wilkie 2005 8 . I will endeavour to explain more about the workings of Equity in a later chapter. Versatility. make the differemce between a good and average DSM. as with the rest of Stage Management. particularly in the case of a DSM. Stamina. is the key to being a successful manager.

hard to find character. © John Wilkie 2005 9 . an understanding of the acting process is crucial. Motivation – The reasons given towards making a character whole. the same rule applies…they all have to maintain a high level of concentration in order to perform their individual genres to a standard that the production requires. As the DSM works more closely with the Cast & Director than any other individual backstage. “Line!” – The most common way for an actor to alert the DSM that he/she has forgotten their line.Stage Management 2: Deputy Stage Manager Handbook The Acting Process "Thinking is easy.. A made up persona. Improvisation – When an actor reacts to or creates a non-scripted section of the production in a spontaneous fashion. the actor may then slip into stereotype. When this concentration is broken. Drying – When an actor forgets his lines. thousands of words to learn and a bundle of props that they haven’t yet seen and you have all the ingredients for a major blow-out! Oh yes…. Business – When an actor uses a prop or has non-spoken sections in a play where action replaces dialogue. 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.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. more so than from any other technical department. Rehearsal Shoes – Similar to Rehearsal Skirt but with shoes instead. On the book – A large part of the rehearsal period when an actor has yet to memorise any of his/her lines. “Prompt!”. Less commonly used terms are. Rehearsal Skirt – A skirt used in rehearsals.” Johann Wolfgang von Goethe An understanding of the Acting process is also vital to becoming a successful DSM. Character – The culmination of all of the actors work thus far. Prompting – “Throwing” the actor a line (usually the DSM’s role) when he has dried. acting is difficult. Add the stress of a fast approaching opening night.. realistic and believable. Blocking – The moves that actors make within the performance. Fluffed – A slightly more effeminate way of referring to a missed/mixed up line. Every member of every Technical Department represents their own department by facilitating and enhancing the performer. usually to represent a period style garment. rock stars or Opera singers. for whatever reason. Here are a few commonly used acting terms that may be of interest…. “Yes!” and “F*^k it!!” Corpsing – Uncontrollable fits of laughter by an actor (usually due to another actor’s improvisation). and to put one's thoughts into action is the most difficult thing in the world. 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. Whether the performer(s) that you are working with are street jugglers.

should be followed up by the notetaker as often as is possible. 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. technology cannot be relied on entirely. cannot be emphasised highly enough. However. © John Wilkie 2005 10 . as a DSM. Fig. though a DSM’s remit demands it rather than making it an additional quality that is simply desired. shows a simplified diagram of where the DSM sits in the production process. These more complex problems should be explained to the department head in a simple and clear manner. Basically. whenever required. you should find time to be available to answer any questions that arise from your notes and reports. The distribution of reports. A good standard must be set from the outset for both skills. at times. ether for the rehearsal process itself or for the impending performances.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. the DSM can produce a vast array of relevant paperwork from timesheets to daily “to-do” lists. especially those of a more complex nature. By mastering basic software packages such as Microsoft Word and Excel. Sometimes notes or reports. 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.02. notes and minutes can then be distributed with a few clicks of a mouse via email etc….02 Fig. the need to have face to face communications. Communication skills take the form of both verbal (word of mouth) and non-verbal (documentation) disciplines. Excellent Communication & Interpersonal Skills It almost goes without saying that any type of manager should possess excellent communication and interpersonal skills.

no real managerial policy has been set and the Technical can be in danger of being. • Cast Timesheets. Set Items & Props. • • • • • • • • Cast & Crew Contact Sheets.Stage Management 2: Deputy Stage Manager Handbook Organisational Skills Again. So many “average” DSM’s are seen as nothing more than note-takers by their cast and Director and a “seen but not heard” presitant is set. Running Time. Compiling the Book • Blocking • Calls • Stand By’s • Q’s Provisional Settings List. Rehearsal Furniture. • • • © John Wilkie 2005 11 . shall we say…. Equity Rulings. action needs to follow your planning. 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. • Health & Safety Policies. • Copyright Law. Provisional Sound Plot. By the time the Technical Rehearsal is upon the company. Q-Light Settings List. Show Reports. Cast Call Sheets. Provisional Running List. Measurements & Fittings. we shall look at these duties in more detail in the following chapter.under-managed? I have listed a few guidelines to help you get started in rehearsals. • Working Time Directives (WTD). this quality is fundamental to a DSM of any stature. Provisional Fly Plot. Rehearsal Notes. Timings Availability Charts. • Personal Timesheets.

A typical Repertory Production Timeline. Sound Plot 1 In Rehearsals Fit Up LX Rig In Rehearsals Q’s. 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.03 Stage Management 2: Deputy Stage Manager Handbook 12 . 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. Performance 7 Performance.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. Begin to Fit Up Next Show. 6 7 Strike PostProduction Returns.03. S/B’s 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. • Rehearsal Notes • Settings List • Prompting • Provisional Fly Plot • Prov. Fig.

a DSM has to find the same level of concentration for each performance. as in Fig. 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. the quality of its management is graded on the apparent lack of stress placed upon its employee’s. first of all there is all the necessary planning and then the required action that arises from the planning stage. in terms of paperwork. eaten at irregular intervals and usually in haste. Nutritional intake can only be described as a diet of junk and fast food. © John Wilkie 2005 13 . but a standard length of production. During any production. is a very useful asset to have. I have added a guide (at the bottom) that shows roughly where a DSM should be. as too much planning can leave you with little time to act. Break infringements are common place and few remember that they have missed their statutory breaks. Following the script closely. Rehearsal periods can be anywhere from a week to three months long. This becomes easier with practise and your familiarity with the process becomes second nature. It is important to get the balance correct between these two disciplines. in between cues. If it weren’t for the fact that you can be preparing a different show during the day. Organisation can be split into two distinct areas. is the most common. Patience and Concentration Long production weeks tend to put a great deal of pressure on the company as a whole. in these circumstances. at any time during a production. There will always be issues to deal with and problems to tackle. When a show is in performance and the run is a long one. So it is essential to measure your time carefully. Different venues allocate different schedules to their productions. for anything up to 5hrs each evening (more if there are matinees) can become mentally debilitating.03 depicts a fairly typical production period within a standard Repertory Theatre. that period of your life takes on a bit of a Groundhog Day feel to it.Stage Management 2: Deputy Stage Manager Handbook The timeline shown in Fig. especially if the show is running for more than two weeks. All of these elements result in tempers being fraid. stress levels reaching the ceiling and personal relationships being exasperated. Actors can be a sensitive bunch at times (with exception to the whiskey riddled hardnosed veteran fraternity) and it is easy to forget this. everything goes into overdrive during this period.03. when this occurs it takes careful management of yourself and others to pull through. 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. especially when you seem to be dealing with an endless stream of seemingly petty and (at times) personal problems. too little preparation and planning leads to a lack of efficiency. Patience. that you will never have enough time and that goes for every department employed on the Production. The hours can be in excess of sixty per week and during the winter you see very little daylight. production weeks can stretch to three weeks or more and performances can run for years. In contrast. It is safe to say though. Stamina.

Stage Management 2: Deputy Stage Manager Handbook The Rehearsal Process © John Wilkie 2005 14 .

Chalk. Ground plan. First Aid Kit. 1:50 and 1:100 Maglite Black Clothing (Blacks) Watch Recommended • • • • • • Handy • • • Laptop/PDA Digital Camera Pen (USB) Drive Multi-tool e. 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.Stage Management 2: Deputy Stage Manager Handbook 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. • • • • • • Several roles of PVC (LX) Tape (different colours). Leatherman. Sharpener Ring Reinforcers. © John Wilkie 2005 15 . the venue should supply you with the following. Gaffer Tape Spare copies of script and/or score. Required • • • • • • • • • • A4 Lever Arch Binder Notepad & Pen Box of Pencils & a couple of Erasers. Ruler & Angle Scale ruler with 1:25. starting with the most useful.g.

The Designer would then explain the set and costumes to the cast and a basic overview of the concept behind the designs. First Production Meeting. There is also no harm in setting a good early impression of the team by providing water and cups for the cast. this would also be a good time to collate this information. If the run through constantly stops in order to discuss ideas etc. in their finished state. for the first time. then try to compensate for these breaks when giving your final running time to the Director. set pieces and props should all be collected and ready for an immediate start after the read through. • • • • • • • • Blocking Commences Measurements in wardrobe. Spare copies of the script and extra pencils are always a good idea. Mark Up (if not already done). Another Read Through. An Allergy Sheet can save a lot of time later on. Further Textual Analysis. this will be the first that time that you will have met the cast. Here are a few examples. If possible. This is where the set model and costume drawings are normally viewed. Timing the Read Through Once the cast and company have all been introduced and any absences have been “chased up” or apologised for. Eventually the read through begins and a timing is usually taken by the DSM. This is only possible if prior contact had been made with the Director or possibly the Designer in advance of this day. the Director normally gives a brief introduction and history to the play. This will give everybody their first indication as to how long the show will be. Director available to meet with separate departments. After the Read Through After the read through and depending on what the Director wants to do. 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. having an availability chart on the wall and a clearly laid out notice board.Stage Management 2: Deputy Stage Manager Handbook The Rehearsal Process The Read Through Stage Management are usually in first on a Read Through day. any of which you should be ready for. It is normally the DSM’s job to compile a Contact Sheet of all the cast members before the Read Through begins. several scenarios can take place. 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. Afternoon Off (Extremely unlikely!) © John Wilkie 2005 16 . In a lot of cases. rehearsal furniture.

but having something to represent either a wall or set of stairs gives the actor more confidence every time he/she rehearses with it. A good rehearsal space is one where you can adapt the environment in the easiest possible way. A great deal of rehearsal rooms are also utilised as small studios from time to time and actually host performances. usually depending on how the Director feels. Cast members who find themselves with a bit of extra time may want shown around the building. by themselves are often adequate for a performer to rehearse on. It is a time for you to rekindle old acquaintances and meet some potential friends. 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. Make sure you check the loading before proceeding with this venture. so if you have any questions regarding the set. As ideas occur to you then the room begins to evolve with the project. walls and ceiling is a great help to start with. Theatre is a relatively small industry and the same actors tend to come around in cycles. props and costume with stand-ins. It is the transient nature of the job. the potential for a better end product or performance is heightened. he may be in no mood to face blocking straight away. There is usually a large pile of cut props in the corner of every rehearsal room. The ability to screw into the floor. Until the actual item is available. working a tried and tested route littered with short term contracts. especially if they are new to the venue. these are usually the better equipped rehearsal environments.Stage Management 2: Deputy Stage Manager Handbook Sometimes this isn’t decided until after the read through. you can then start to plan and hunt for rehearsal furniture and props. Some form of grid or LX bars are usually present. It is also an ideal time for the Designer to check the mark up and answer any questions that you may have. © John Wilkie 2005 17 . This is also part of your remit. especially when the production demands several changes of scene and you have got to the stage in rehearsals where runs are imminent. making it easy to hang pieces of set to enhance rehearsals. props or costume that may affect rehearsals then now is the time to have that meeting. the closer that you can represent certain set items. Nailing the Designer Designers can be an elusive lot. Preparing the Rehearsal Room Afterwards. Mark ups. 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. This makes it more complex and harder work for the DSM.

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. this is an ideal place to situate a Key and any other important information that can be seen at all times. Fig. If a notice board isn’t available then find a space on a wall to create one.Stage Management 2: Deputy Stage Manager Handbook Organise Yourself Find yourself an adequately sized desk. The other advantage of using a Lever Arch Folder is that it gives you an overlap (See Fig. this is essential if the Book is being used as part of a long tour or an extended run. you can begin to put your Book together. with drawers if possible and position it as close to the Centre Line as possible. Getting a decent lever arch folder is a good place to start (See Fig. © John Wilkie 2005 18 . A lot of paperwork is generated by a busy DSM so space to spread it out in front of you will be needed. The more that you can do before the Read Through the less you will have to do later.05. • • • • • • • • Call Sheet Availability Chart Set Model Photo’s Costume Drawings Ground plan Cast List Design Reference material Any other relevant information Compiling the Book Prior to Rehearsal starting.05). Lever Arch Folders hold the pages in a lot more firmly than conventional ring binders.06) on the front cover which is seen at all times. Ideally this should be as close to the main door as possible so actors can reference it without causing too much disruption to rehearsals.

06 Shows the ideal location for your key and a distinct place to post your own details. There are a few standards to laying out a Book. A Key is vital to any Book. = Centre Stage X’s = Crosses = Moves D. always use the Stage Management office number and the Theatre address.S. This person may not be a Stage Manager.L = Centre Stage Left C. these are as follows. your Book may be used by others and since most DSM’s make up their own symbols and abbreviations.L = Sits = Stands = Chair 3 = 3 Beat Pause = Barry = John = Sarah = Steve Characters B J S St © John Wilkie 2005 . due to the partially organic nature of rehearsals. Simple additions such as a contents page and section dividers can aid in making your Book more functional and easier to retrieve information from. By placing your Key here.S = Moves D.06.S. • Always try to remember that. Laying out a Book Books are as individual as the DSM’s that compile them. in your absence. one of your ASM’s sitting in for you etc…A key to all of your symbols and abbreviations makes their interpretation of your work a lot simpler. 19 Key: C.If lost please return to: John Wilkie RSAMD Glasgow 01412708210 Stage Management 2: Deputy Stage Manager Handbook Script Fig.S. so the Book must be laid out clearly. It may be an Actor or Director needing to reference blocking or script changes. Your personal details should NOT include your home address or telephone number. The Key must be updated regularly to compensate for changes made during rehearsals. you have to always make the assumption that you may be ill one day and someone else may need to reference the Book. there is no need to go hunting for it amidst a sea of documentation and it is always on view. Fig. it is vital to have a Key.

And for my soul. You can photocopy your columns and column headings onto each page. Being a thing immortal as itself? It waves me forth again: I'll follow it. HAMLET Why. ready for rehearsals. Or to the dreadful summit of the cliff That beetles o'er his base into the sea. Keep the Book in a safe place. HAMLET It will not speak.Stage Management 2: Deputy Stage Manager Handbook • The Book is a unique item and is very difficult to replace if damaged or lost. HAMLET It waves me still. HORATIO No. but necessary in the long run. Without more motive. When touring always carry the Book with you. shows the most common lay out for a book i. And draw you into madness? think of it: The very place puts toys of desperation. by simply removing them. MARCELLUS You shall not go. into every brain That looks so many fathoms to the sea And hears it roar beneath. This makes the prompt copy less bulky and more manageable. my lord. HORATIO Do not. what should be the fear? I do not set my life in a pin's fee. 3 columns. Putting columns into the Book is the next stage of the process. MARCELLUS Look. in the Theatre. never send it ahead in the van or with someone else. HORATIO What if it tempt you toward the flood. Fig. what can it do to that. it’s a lengthy and extremely dull process. my lord. as you have to change any details on the script side of the page also. preferably under lock and key. The advantage of this system is that it is easy to edit entire pages. And there assume some other horrible form. this can be done simply by using one of two methods. Go on. HAMLET Hold off your hands. A Book must not be left in the prompt desk in between or after shows. I'll follow thee. you shall not go.07. then I will follow it. Blocking Calls S/B’s Ghost beckons HAMLET Cues HORATIO It beckons you to go away with it. This makes the Book twice as thick as normal and is not recommended when working solely from a score. • To add a bit more stability and strength to your Book use ring re-inforcers. Fig. There will be times when you will have to work on your Book at home. Which might deprive your sovereignty of reason. HORATIO Be ruled. extreme care must be taken when in transit. by no means.07 © John Wilkie 2005 20 . The downside being that edits are less easy to make. Method 1 Slip a piece of A4 in between each script page. As if it some impartment did desire To you alone. my lord.e. with what courteous action It waves you to a more removed ground: But do not go with it. Method 2 Use the back of the existing script to copy your columns and headings onto.

MARCELLUS You shall not go. And for my soul. by no means. depicts a slightly more complex. my lord. As if it some impartment did desire To you alone. especially in the Cues column.08 Fig. I'll follow thee. However. HAMLET It waves me still. HAMLET Hold off your hands. my lord.Stage Management 2: Deputy Stage Manager Handbook Ghost beckons HAMLET Blocking Cues HORATIO It beckons you to go away with it. HAMLET It will not speak.09 21 .09. HORATIO Be ruled. what can it do to that. 4 column Book. It gives a lot of space to list levels and make operational notes. MARCELLUS Look.08. Some prefer a less rigid system to work with and this is ideal for them. HORATIO Do not. Being a thing immortal as itself? It waves me forth again: I'll follow it. HORATIO No. then I will follow it. with what courteous action It waves you to a more removed ground: But do not go with it. you shall not go. it is a looser framework to input information into. Which might deprive your sovereignty of reason. The disadvantage to this system is that it sacrifices space for order. this time using a 2 column system. what should be the fear? I do not set my life in a pin's fee. It is important to remember that both the Blocking and Cue columns need more space than any other column. HAMLET Why. © John Wilkie 2005 Fig. into every brain That looks so many fathoms to the sea And hears it roar beneath. Without more motive. HORATIO What if it tempt you toward the flood. Or to the dreadful summit of the cliff That beetles o'er his base into the sea. Blocking Calls S/B’s Cues Fig. And there assume some other horrible form. cues and calls and a certain amount of clarity is lost. Fig. Go on. shows another popular layout for a Book. Stand By’s can be lost in amongst notes. And draw you into madness? think of it: The very place puts toys of desperation. This system is useful if you are operating LX and/or Sound. my lord.

see below for a description of this system….12) Personal Timesheet (Fig.10) Call Sheet (Fig. before distributing them to the relevant departments.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. Within the RSAMD we have standardised the way that Rehearsal Notes. This is especially relevant to Rehearsal Notes. They are usually taken in note form then collated and put into a standardised template.13) Cast Timesheet (Fig. by you. This ensures that everyone knows what is going on.11) Availability Chart (Fig. When emailing notes. Some examples of early rehearsal paperwork are as follows… • • • • • Rehearsal Note (Fig. another departments note may be partially relevant to some other department and may not have been picked up. all departments should receive a copy. whether there is a note for them on that day or not. initially. This also goes for distributing your notes.04 Backstage Hell PM 01 12. Production Minutes and Show Reports are distributed. 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. you can (time allowing) start to create templates for any other paperwork that you may need. Every department should be listed on your notes. please adhere to the following format: Documentation Rehearsal Notes Production Meeting Minutes Show Reports Email Subject Line Backstage Hell RN 01 12.04 Backstage Hell SR 01 12. Though there was no Wardrobe note for that day. a stage management note that states that there will be double the blood used for a particular scene.05. 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. e.14) Rehearsal Notes Rehearsal notes are a continuous process within rehearsals.05.04 This allows the recipients to set up filters within their email client in order to file all documentation more efficiently. 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. © John Wilkie 2005 22 . regardless if there is something for them or not.05.g.

Bridget Kimak.Stage Management 2: Deputy Stage Manager Handbook Date: Thursday. Steve MacLuskie. • Mr Garcia’s (Fenton’s) mask strings need securing more rigorously. In some scores it reads “il corteggio nuziale. David Ripley. Ross McMillan. Sean Taylor.: Anna Casson. Colin Grenfell. © John Wilkie 2005 F Page 1 of 2 Director: Martin Lloyd-Evans ASMs: David Dunnachie. Paintframe • No notes today. Etenti” The text being used for this production. Dave Evans. Ross McMillan Thank You. Ros Maddison.10 FALSTA F Rehearsal Notes Rehearsal Note No. Martin Mallorie. which replaces the above. Louie Whitemore. Electrics • No notes today. Design • 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. This water will fall downstage centre of the platform. Tim Dean. 23 . Stage Management • Mr Labonnette’s (Falstaff) handkerchief will need to be quite wet for Act III Scene I. Ronnie Murphy. 9th December 2004 Fig. He needs to be able to squeeze water out of it when wringing it. Attenti”. David Dunnachie. Martin Lloyd-Evans. 11 Stage Manager: Louie Whitemore Deputy Stage Manager: Anna Casson Rehearsal Room: The Groves Studio F. Zander Lee. Christine Murphy.A. Jamie Mackay. Director • No notes today.O. 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). is “la coppia delglia sposi. Davy O’Neill.

30pm Thank You. (Wardrobe) To Join.15pm 5.11 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.Stage Management 2: Deputy Stage Manager Handbook Fig.30am 1pm To Join. Fitting.30pm To Join Run Act 3 Fitting (Wardrobe) Fitting (Wardrobe) Fitting (Wardrobe) Mr Murray Miss Saigon Mr Burn 5pm 5. John Wilkie DSM © John Wilkie 2005 24 . 2pm Run Act 3 Sc 1 3pm Work Act 3 Sc 2 Mr Lee 4.

12 Cast Availability Chart Show Rehearsal Room Backstage Hell R2 SM DSM Stage Management 2: Deputy Stage Manager Handbook Michael Budmani Sue Hawley Date 20. this makes the Availability Chart partially redundant. When posting on the rehearsal room notice board it is useful to print/photocopy this onto the biggest size possible. Scene or Act. 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. 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. whether it be a plan for the coming week or simply to set calls for the next day.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 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. © John Wilkie 2005 25 .Fig. This is a useful tool when scheduling rehearsals.

12.13 Stage Management 2: Deputy Stage Manager Handbook Department of Technical & Production Arts Please use 24hr clock format ie.Fig. 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 19.2004 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 .

04.Fig.14 Stage Management 2: Deputy Stage Manager Handbook 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: 12.2002 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 .

. Blocking is an ongoing process. 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).C and takes his coat off.g. Blocking Blocking is where the Director very roughly moves the actors around the set. You will very rarely find an Opera singer holding a score in their hands whilst rehearsing. This is in contrast to those Directors who prefer to add detail from day one and continue to do so on a daily basis. © John Wilkie 2005 28 . allowing the Director to start layering the performances accordingly. Some Directors like to layer their rehearsals. along with the system that the Director has opted for in rehearsals and the length of the overall Rehearsal process. It is the remit of the DSM to record every move made by all of the cast throughout the performance. When an Actor comes to Rehearsals they are very rarely expected to have learned their part beforehand. In Opera it is different. these are… • • • Blocking Working Running It will depend on the script and Director as to how much time is allocated to each area.S.L to D. whereas the former system tends to be a lot quicker. moves are tried and tested through the process of trial an error until both actor and Director are happy. putting it on the D. as the Actor will be given a deadline to get “off the Book” by the Director. in Drama. by the final week of Rehearsals the Actors have the basics down and are adding finer points to their performances. indeed may actors prefer to learn their lines along with learning their moves.S. As the cast develop very simple “A” to “B” moves and progressively add more complexity to their movements (e. especially in terms of blocking.C chair. starting with very basic blocking and adding more and more detail at every stage. singers are expected to have learned the music and lyrics before coming to Rehearsals for the first time. It starts the process of layering the performance. it is common place. when this happens the DSM then takes on any prompting responsibilities that arise and blocking almost becomes secondary. (unless you have worked alongside the individual before) until you sit down on the first day of rehearsals. The latter is a much slower and ponderous process. This is dependant on the size and complexity of the show. several days may be taken on only a handful of pages. The following is a very rough breakdown of the three aforementioned areas.e. moves from U. The difficulty here is that you never know how a Director works. “working” and finally the final week is left to both “working” and “running”. Usually the first week of rehearsals are concerned solely with blocking.S.Stage Management 2: Deputy Stage Manager Handbook Rehearsal Management The Rehearsal Period is split up into three very defined areas. then sits in the chair) then the DSM must continuously update his/her blocking to suit. whereas. followed by a second week which is left to adding detail i. It is important for the DSM to get as much of this early blocking down as soon as possible. The entire play could be blocked in 2 – 3 days.

On the next page there are some examples of symbols used by professional DSM’s to get you started. as speed is of the essence. never a pen. the most common being an actor who has simply forgotten a move. Due to the constant updating that is required when writing down Blocking. a pencil is always used.Stage Management 2: Deputy Stage Manager Handbook Blocking Notation Your notation may be used for several process’s. It is entirely up to the DSM to create a system of short hand. Apart from these very basic standards. there are no hard and fast rules to compiling a Book (aka The Prompt Copy). © John Wilkie 2005 29 . A good quality pencil is also recommended and an eraser to match. In order for a Book to be easily read by others block capitals are the standard (no “joiney-up” writing!). This ensures that editing can be done several times and the Book remains as neat and tidy as possible. 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. o For the possibility of a revival. Other uses for the notation process could include the following. To aid in Play Days and educational exercises. A record of the show. o For prosperity. Do Stage Managers make the tea? Only if they like the person that they are making it for. • • • • During the LX Plot.

3 beat Pause Looks @ at with © John Wilkie 2005 30 .S.S.S..S.S.S.S Moves D.S.S Moves S. O.S.S C.L D.L C.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.htm Several systems have been tried & tested in order to preserve dance routines for prosperity.R C.artslynx.Stage Management 2: Deputy Stage Manager Handbook Examples of Blocking Notation Moves U.L U.R D.S.S.L Moves U.R P.C U.C D. X’s 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.org /dance/notation.P.L Moves S. http://www.

She then crosses to Down Stage Left. Britney crosses from down stage right to down stage left and stands next to chair.L CHAIR Any of the above would be correct. The longhand version would read something like this….S. This would take too long to write in a pressurised rehearsal environment.15 Fig. for it is the easiest layout to read. Britney (the actress) starts off Down Stage Right.Stage Management 2: Deputy Stage Manager Handbook S t a g e Fig.S. to aid in finding specific details much faster.L CHAIR Example 2 B x’s D. this helps to make the character stand out amongst all of the other symbols.S. Examples of this are as follows. Example 1 B x’s TO D.L TO CH1 Example 4 B CROSSES TO D.L TO 1 Example 3 B x’s D. so we create our own forms of shorthand to help speed up the process and save space within your blocking column. © John Wilkie 2005 31 . If you have time in rehearsals then the closer that you can get to longhand the better.S. Notice how the character reference is encircled.15 depicts a very simple move.

And draw you into madness? think of it: The very place puts toys of desperation. HAMLET Place a number (in a circle) over the word HORATIO on which the Actor starts his HAMLET move. then I will follow it. what should be the fear? I do not set my life in a pin's fee. my lord. HAMLET It waves me still. It will not speak. I'll follow thee. starting with the same number. Go on. Blocking SB’s\Calls Cues HORATIO It 1 beckons you to go away with it. HORATIO No. What if it tempt you toward the flood. As if it some impartment did desire To you alone. Or to the dreadful summit of the cliff That beetles o'er his base into the sea. then write your notation in the blocking column. © John Wilkie 2005 32 .16. Fig. Why. my lord. As if it some impartment did desire To you alone. And there assume some other horrible form. Without more motive. Try to put HORATIO both numbers level with each other on the page. Which might deprive your sovereignty of reason. into every brain That looks so many fathoms to the sea And hears it roar beneath. with what courteous action It waves you to a more removed ground: But do not go with it. And for my soul. Number Referencing Ghost beckons HAMLET 1 M x’s DSL to G ’s L MARCELLUS Look.Stage Management 2: Deputy Stage Manager Handbook HORATIO 1 It beckons you to go away with it. by no means. Being a thing immortal as itself? It waves me forth again: I'll follow it. my lord. Do not. what can it do to that. MARCELLUS You shall not go.

16 shows an example of blocking notation for a production of Hamlet. which is preferred. Which might deprive your sovereignty of reason.17 This is a technique enabling you to reduce the amount of renumbering that you have to do.Stage Management 2: Deputy Stage Manager Handbook Fig. 6b… Another alternative. would be to add “points” after the number.g.1 happens either before or on the first piece of dialogue (the first spoken word on the page) and the last move (we’ll call it move No. Blocking move No. what should be the fear? I do not set my life in a pin's fee. This allows you to slip in new moves without having to drastically re-number. If the first move on the page is on Horatio’s line “No. 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. what can it do to that. where the number of moves added on a particular page become too numerous for your numbering system.5 etc… © John Wilkie 2005 33 . into every brain That looks so many fathoms to the sea 15 16 17 18 19 20 Fig. my lord. As if it some impartment did desire To you alone. Without more motive.g. Or to the dreadful summit of the cliff That beetles o'er his base into the sea. HAMLET It will not speak. Numbers should RESTART on each new page and not be continuous throughout the script. with what courteous action It waves you to a more removed ground: But do not go with it. then I will follow it.20. Renumbering is always going to be time consuming so the following system may be of use to you. HORATIO What if it tempt you toward the flood. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 HAMLET Why. And for my soul. my lord. 6a.” then your first number in the blocking column would be 6. And there assume some other horrible form. you can simply begin your re-numbering from the top of the page that the new move was found on. HORATIO Do not. by no means. And draw you into madness? think of it: The very place puts toys of desperation. There will come a point. HORATIO No. simply add the suffix “a” or “b” etc… e. if a new move is created between two existing moves then you need not re-number from page 1 of the script or score.17). e. Ghost beckons HAMLET Blocking Calls/Sb’s Cues HORATIO It beckons you to go away with it. 6. Being a thing immortal as itself? It waves me forth again: I'll follow it. MARCELLUS Look. This is also for editing reasons. in some productions. by no means. You can then split the dialogue area up into sections. Sectioning the Page Imagine that the script has been split into horizontal sections (see Fig.

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 PC’s and MAC’s 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 we’ve 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 by’s etc…all 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 isn’t always possible. Your Stage Manager and ASM’s 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 area’s 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

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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 (it’s usually someone who hasn’t 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 Member’s 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).

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rounded up to the nearest quarter hour. © John Wilkie 2005 37 . in combination if appropriate. Compensatory Rest). 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.00pm or the end of the afternoon working period of the previous day. It will be compensated by the following methods. + Compensatory Rest (See Clause E(2). 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. Compensatory Rest) 1st Call of the Day The Manager shall notify the Company Member of this by 6. Compensatory Rest Compensatory Rest shall mean time off equivalent to the rest period breached. Minimum call The minimum call shall be counted as 3 hours even though the period actually worked may be less. Compensatory Rest) must also be given. 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 must be given at Company Base except where the Company Member and Manager agree otherwise. which ever is earlier. (see Clause E(2). OVERTIME Overtime is time worked in breach of breaks or in excess of normal hours. 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. 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). 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. (See Clause E(2). The overtime rate (i.e.Stage Management 2: Deputy Stage Manager Handbook Overnight Gap A minimum period of at least 11 hours shall elapse after the conclusion of each day’s work during which the Company member shall not be called. Any overtime worked over 12 hours shall be paid at 3x the hourly rate.

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. whichever is the shorter. Company Members are responsible for making sure that breaks are taken. This is basically the Chair asking the meeting if there is anything else relevant to discuss outwith the Agenda. Time Sheets Company Members shall complete and submit to the Manager time sheets each week detailing hours worked. Compensatory Rest shall be given within 6 weeks.17. The Agenda is a list of general topics that need to be discussed during the meeting. but unless it has a multi-directional mic and is of good quality (i.O. on average. They are normally laid out by department. The use of Dictaphones is sometimes used. © John Wilkie 2005 38 . A DSM should be prepared to take minutes at these meetings and distribute them. it may need to be referenced during the meeting. The A. expensive) then they are of little use. When on tour.e. This average should be calculated over a reference period of 17 weeks or the run of the production. Production Meetings A company will endeavour to hold a Production Meeting once a week to gauge the progress of the project. the more employable you will become and the rehearsal process becomes better managed.17 stands for Any Other Business. may be worked. The cheaper Dictaphones are designed to pick up a voice talking directly into it and not a lot of voices in one room. for an example of a set of Production Meeting Minutes) Remember to bring your Book with you.Stage Management 2: Deputy Stage Manager Handbook Breach of Free Day Where there is a breach of the Free Day. 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 Equity’s rulings and commit them to memory. Working Time Regulations These Regulations mean that no more than 48 hours a week.B at the bottom of the minutes on Fig. (See Fig.

The cast will consist of 4 actresses and 6 actors. however it will have to be planned meticulously. Workshop • • • Mr O’Neill expressed concern as to whether the set can be fitted up in the time allocated. Sean Taylor. 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. matt black paint to be tested and samples to be tried. Mr Rice 1. Possibly more levels to be added from stock. Dark Oak) and gold leaf trim to be implemented into colour scheme. Movable blocks or rostra to be added for cast to move about. 4 Windows are being used now. Donna Sotomorettini. Gillian Affleck. Mr Murray will have a further meeting to discuss this design issue. Jamie Mackay. Last Meetings Minutes: • No Issues Arising.) Flat is cut.17 Spoon River Production Minutes 16th May 2003 AGOS Conference Room Present: Apologies: David O’Neill (Chair). Cheaper alternatives i.e. 2.L. Mr Sotomorettini noted that she was happy if the bookflat didn’t open. Cyclorama to come up over top of set to form a ceiling to represent sky. Mr Savage expressed concern over the building of the platform as he did not initially cost it. Blackboard paint to be priced for bottom of one of the book sections. Miss Sotomorettini is still looking for musicians to play in the band. instead of 5. John Morson. More detail was asked for. Model Box/Set Design/Drawings • • • • • • • • • • • 3rd (S. drawings and whether the band needs costumed. Mr Murray will provide all of the above. Cladding needed for steel deck. (to be drawn on by cast.Stage Management 2: Deputy Stage Manager Handbook Fig. Book should break into 4 sections for one flat and 2 for other. Robin Mitchell. 4. Brendan Savage. Only windows to be gauzed. © John Wilkie 2005 39 . Mr Savage is confident that it can be done in the time allocated. Jo Dixon. John Wilkie.g. Kevin Murray. 3. Wardrobe • • • Miss Affleck requested a cast list. Browns (e.

7. Minutes Taken By John Wilkie. LX • • • • Cyc will restrict the use of downlight. Mr O’Neill & Mr Mackay requested that the set be fitted up in the paintframe. • None.Stage Management 2: Deputy Stage Manager Handbook 5. Mr Savage replied with a firm “Yes”.B. Gauze to be lightly painted. Housing for LX fittings to be pre-rigged onto the back of the bookflat. Sound • • Miss Sotomorettini does not want the cast to sing along to recorded music. AGOS Conference Room @10am. A. 11. 10. These housings will be made out of scrap wood from workshop. 9.O. 6. Date Of Next Meeting • Friday 23rd May 2003. The flood bars will have to be hung before the cyc is hung. A border will need to be hung along the front edge of the cyc to stop light spill from above. These fittings will have to be attached before the gauze. • • Mr Wilkie requested a props list. Most props will be from stock and emerge through the rehearsal process. Paintframe • 8. Recording of children singing may be required. Resident Stage Manager © John Wilkie 2005 40 . TSM • • • • Mr Morson expressed concern on how the book flat would flex when opened. Bent conduit to be used on either side of cyclorama to give it it’s curved shape. Stage Management.

Prompting becomes difficult if you don’t have a fully updated script. as Prompters. Situated DSC alongside the footlights. 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 . Occasionally the Director will ask the DSM (in the absence of an Assistant Director) to host a line run for the cast. At times a Director may not be available to attend a rehearsal. it is a good time to catch up with any blocking that needs updating or lists that needs attention. Only the DSM maintains an up to date version of the script.Meanwhile. When acting “companies” were more prevalent this was an easy skill to hone. © John Wilkie 2005 41 . Props will start to be used as the cast become much less reliant on their scripts. this in turn. Learning to read an actors body language prior to a dry can often alert you to an imminent prompt. It is also crucial that this is done as it may affect several of the process’s at a later date. This is usually held in the Rehearsal Room with the cast sitting down a saying their lines. our forefathers sat with the Prompt Copy in front of them and threw lines to Henry Irving. the Director and Cast will begin to add layers to their blocking.prompt·er noun In a way. this is where it all started for DSM’s. on a more serious note. in a wee box. A great deal of talking also goes on during these sessions. cutting lines. You got to know them and learn all of their little idiosyncrasies. However. Ellen Terry and other foosty old Victorians. The DSM then corrects any misquoted words or lines. Working the Script As the blocking stage comes to an end. from Medieval Latin promptare. 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. as does cuing and running line and speed runs. On even rarer occasions you may be asked to oversee a run (which usually turns out to be a riot!). allows them to use both of their hands in order to create specific business with their props and costumes. sometimes at speed. as you worked with the same cast throughout the season. The Art of Prompting Main Entry: 1prompt Pronunciation: 'präm(p)t Function: transitive verb Etymology: Middle English. paragraphs and sometimes pages. prompting is fast becoming a rapidly diminishing skill.

one actor may scratch his chin every time that he is about to dry. though it would not be as detailed. Fig. Line Runs On occasion individual cast members may ask you to go over their lines with you. 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. Recognising body language takes a lot of experience and time in various rehearsal rooms. It is also quite common for the cast to have a line run if there has been a day off between performances e. many of the items that weren’t in Rehearsals can only be added after the Technical Rehearsal.g. this is a courtesy and not part of the standard DSM remit. whilst another may bite his lower lip. Depending on whether you are busy or not. look for tell-tale signs of an imminent dry. A Line Run is usually conducted when the Director is absent from Rehearsals for whatever reason. When a performer has dried and requires a prompt they will usually ask for it by saying “Line”. you should begin to compile a Provisional Settings List. Provisional Settings List As props get added. however it does acquaint you with the performer in question. you will find that most actors have some subconscious idiosyncratic gesture that preludes a dry. Sunday. The more detail that you can put on the list. This will eventually be handed to your Stage Manager (prior to the Technical) for them to complete before the 1st Dress Rehearsal. as the name suggests. I have included this to give you an idea of how the Provisional List should be set out. Try to read one line ahead of the performer. it may also look as if it is part of the action. if done subtley and in the correct context. This holds up the proceedings slightly but avoids the audience hearing you.18 is an example of a full Settings List. © John Wilkie 2005 42 . is simply a non-exhaustive list of where all the set dressing. as would be produced by a Stage Manager from the DSM’s Provisional List. The DSM is usually left in charge of these sessions and will correct any mistakes made by the cast.Stage Management 2: Deputy Stage Manager Handbook Prompting continued… In some Theatres there may be a “no prompting” policy. It is important that the Stage Manager gets this list prior to the Technical so the SM Team can begin to set up. This is in place to put pressure on performers to learn their lines thoroughly and avoid disrupting the performance in any way. the better as this will lessen the workload on your Stage Manager later on in the process. You should then deliver the line clearly and quickly. For example. Some performers prefer to simply walk offstage to you and read the line directly from your Book. Having worked with the performer on other productions makes this process easier with every new occasion that you work with them. There should be little or no gap or pause between the actor asking for a line and you delivering it. furniture and props are preset. A provisional settings list.

L. 8. corner of carpet) Traffic Cone on top. corner of Filing cabinet) Filing Cabinet Locker (On P. Fax Machine with Memo in Front Slot. © John Wilkie 2005 43 . Stage Management 2: Deputy Stage Manager Handbook Filth Settings List Set: Wall Carpet Scaffold Cage (With Flap & Water Drop full) Sink Unit (Behind Cage) Coat Stand (on U. 7.S. Silver Pen & Reading Spectacles. 5. 4.S.18. In Tray with Papers & Rubber Stamp.L. (under front edge of lightbox). Pros. 13. 12. (set f’ward of lightbox) 10. Red Phone (Stuck Down). Plate of Biscuits (x5) Napkin on top. Out Tray with Few papers & Scissors (set f’ward of lightbox) 9.) Swivel Chair (Against O.) Light box & Shut Blinds (On Wall) Xmas Tree (with Coloured & White Lights) Flies: 2x Coolie Lamps (Big above Corner of Wall.S. Gap for Tam to sit. Efan Wurie File under front flap of beige paper folder.S. Small above Hi-Fi) Snow Dropper (With 3x Small handfuls of snow) On Table: 10 9 13 6 8 7 1. 3.Fig. Photo in 2nd page & blue Tac on back. White Pad. Whiskey Tumbler. Remote fro T. 6. 11. Water Tank ¼ Full (On Shelf Behind S. Wall) Table (C. Pot with Pens & Dry Wipe Marker.V. Black & Blue Binders. Cream Phone\Answer Phone 2.

© John Wilkie 2005 44 . end of Light Box. Dressing papers behind. side of Filing cabinet) with: Police Hat on bottom left side of case. B: Pint Glass ½ Full (Real Beer). Shoes (laces undone) on right side of case. No top. 2x Red Tinsel.V. 2nd Drawer: 3rd Drawer: Bottom Drawer: Xmas Tree (S. Strategy folder in first sleeve) Folder with: Photos of Begby (SB). Setteringtam (AM). Gorman (AJ) & Ocky.R. Filing Cabinet: Hi-Fi on top (near back) decks closed & empty. on stand with birdie inside (facing U. 2.L. Frank Sidebottom Puppet (Head D. 2x Cardboard Boxes (Big one on top) with: A: Round Whiskey Bottle ¾ Full. Deep Purple Tape (in Box) Another tape (not in box). Bomb Tank & 2x Small Maroons (Primed) 3. White Shirt (top 2 buttons undone) folded.) and coiled cable 4.) ¾ full of water. Cable neat & coiled) Santa hat on top. T. Photo of Stacey in frame (in front of Hi-Fi) Top Drawer: Kit-Kat in box (1x finger ½ wrapped in foil) Empty Tape Boxes.S. Case closed with buckles through loops but loose. Black Suitcase (S.R. of Filing Cabinet) with white & coloured lights on it.S. Trousers on top (unzipped) with belt. Jacket folded and unbuttoned.) Small Vodka Bottle (white tacked to inside of drawer.Stage Management 2: Deputy Stage Manager Handbook Under Table: 4 2 3 B 1 A 1. Triangular whiskey bottle ½ full. Black Tie. 2x Traffic Cones (on top of each other) Metal Bin (Right of Table) Pool Cue Leaning against S.

Flip Chart (On O. bottom facing D. of O. White card as backing. Dartboard (on floor) S. Door Closed. Deer Stalker Hat (in front of bag).S) with various rubbish & Dressing Gown inside. Cardboard Box (leaning against bottom of cage vertically.S. Wig on smaller part of hook.S scaff bar @ head height). Right ladies black shoe (behind dress) Fire FX. Pin at Craiglockhart. Fart Machine (on) Football Photograph.S. Pros) Chart closed. Black Marker on small shelf at bottom. Tied with evidence tag Lipstick & Eyeliner (in small box) Left ladies black shoe.L.Stage Management 2: Deputy Stage Manager Handbook Small Pinboard ( behind tree) with: Various dressing. Photo of Amanda Drummond. Hook & Ladies Coat. Hammer in clear bag.S.S.P. Edinburgh Map (behind cage) with: 8x white tac (various places. Mirror (at top on hook) Photo of Lennox\Bruce. behind elastic on bottom left. Key glued into hole. Tesco Bag with shopping & 4 Blank Videos. Golf Club (O. © John Wilkie 2005 45 Locker: On Top: U. Hook) Shotgun (broken) on off stage hook. quite high up) Pins at various places. 2x Balloons (1x long. on bottom. 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. End: D. Cocaine wrap\Credit card\ Silver straw. End: Back of door: Inside : Top Shelf: Middle Shelf: Bottom Shelf: Door: Cage: . Dress on big part of hook (in front of wig) Tights (over top rail). “What does racism mean to you?” on 1st blank page (blue tacked). 1x round) above small pinboard. of table with 3x Darts.

L.L. of Edinburgh Map (set in up position). Dressing Room: Suit Jacket with: Photo of Sinky (white tack on back) inside pocket. 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.R.S. Maroon firing mechanism at prompt corner.D. Wallet with photo’s of: Lorna Lise Kate Chad Helga Fart Machine remote control.Stage Management 2: Deputy Stage Manager Handbook Light switch S.S. behind wall. Badge in Left hand pocket. Scotland Map (S. © John Wilkie 2005 46 . Control for Blind C. of table) P. Behind Set: Smoke Machine behind U. corner of wall. Smoke Machine remote at prompt corner.S. Props Table Black Book Police Review (Fliers out) Briefcase with: Front Section: The Sun Newspaper. Middle Section: Pharmacy bag & Vermolax Bottle. Suit trousers with: Overcoat with Police I.

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. As you know an individuals Running List is a complete list of duties that they have been assigned during the run of a production. Prompt Side. I have listed a number of points to aid you in laying out your Provisional Running List. This list is created to give the SM Team something to start the Technical with. Fig.20 is a half decent example of a Provisional Fly Plot. List where these tasks happen. This gives the user an idea of how long that they have between their cues. or may be affected. an example of a Provisional Running list follows (see Fig. the DSM lists all tasks that are obviously Stage Management tasks. There is little point in adding LX cues at this meeting as they will all be set during the LX Plot. A meeting to ascertain cue positions. created by the DSM in Rehearsals for all of the SM Team. List Fly Cues. A Provisional Running List is a general list. the Provisional Fly Plot relies on the information at your disposal within Rehearsals. it is the DSM’s job to ensure that they have something to work from. ensure that you add what page the task occurs on. indeed it is the best time to also complete all of your provisional lists. Leave space in your layout for the user to note their own changes. It is useful to add page numbers onto this list for the same reasons set out in the Provisional Running List section. Starting from the beginning of the play. even if it is a very general location i.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. you can only list what you have encountered in rehearsals or bits and pieces of detail that you have picked up along the way. Provisional Fly Plot As with any of the Provisional Lists that you compile as a DSM. Fly and any other miscellaneous cues that the Director has pre-planned.e.19). Give an outline of Scene Changes in your list. • • • • • • When you list a task. No member of the Technical Team on the production should begin a Technical Rehearsal with a blank note-pad. Again. by the cue. © John Wilkie 2005 47 . List any Actors that are involved in. Stage Right etc… the more detail the better. A copy of this list should be handed to your ASM’s and SM prior to the Technical Rehearsal. before the Tech. with the Director and yourself is extremely helpful and this can include Sound. This gives everyone using the list very definite visual markers as to where they are in the script.

this need not matter. © John Wilkie 2005 48 . The Provisional Running List is the only example where the Directors input isn’t usually required. from various sources. (Fig. This list is normally compiled solely by the DSM and their knowledge of Stage Management. Having said that. It also serves to bring up any omissions or discrepancies in information between the DSM and the Sound. compiling a Provisional Sound List is only as good as the information provided from rehearsals. 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.Stage Management 2: Deputy Stage Manager Handbook Provisional Sound List Following the same restrictions as the other provisional lists. Again. has been omitted.21 depicts a typical Provisional Sound List). 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. it is better to hand in a list with only one cue on it than with none at all. After the lists have been compiled it is advised that the DSM talk through them with the relevant departments. The end result should be that the DSM has matching cue numbers with that of the department in question. updating them where information that the DSM was not privy to. 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. Fly and SM departments.

S.S. Fly Q 3: Blood cloth IN (when bed truck is OFF) Miss D’meanar on C. Props Table to S. Pg 14 Fly Q 2: Starcloth OUT.R.S.S. unlock pass door for quick re-entrance U.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.Stage Management 2: Deputy Stage Manager Handbook Fig. Pg 24 Fly Q 4: Blood Cloth OUT Pg 27 Miss D’meanar exits through auditorium. Pg 20 Tray of candles on D. lipstick & letter from Mary on coffee table.S. (45 seconds) Pg 43 Fly Q 6 Black Cloth & Border IN Pg 44 Statue of Christ set U. Set Handbag with hanky. Pg 12 Move 6 x suitcases from S.L marks.R with shopping trolley (page blacks).19 Backstage Hell Provisional Running List Pg 1 Pg 4 Mr Macluskie enters U.L. Bentwood Chair to D. Props Table Pg 12 Fly Q 1: Starcloth IN.L.S.L with breakfast tray.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. Page curtains for Mr Macluskie’s exit.C behind Black Cloth Pg 49 Fly Q 7: Black Cloth & Border OUT © John Wilkie 2005 49 .L into formal evening wear.

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.

L to U.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.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 .R TBD © John Wilkie 2005 51 .S.Stage Management 2: Deputy Stage Manager Handbook Fig.S.S.Underworld Snap OUT U.

Stage Management 2: Deputy Stage Manager Handbook Production Week © John Wilkie 2005 52 .

Check with your Director prior to removing any items from Rehearsals. This is the point where all the weeks of pre-planning and preparation are put to the test.Stage Management 2: Deputy Stage Manager Handbook Production Week This stage of the process is the most demanding week in the DSM’s remit. in RSAMD the Stage Management Team do it. there is a flurry of activity from all areas and there can be an atmosphere of confusion and chaos all around. During Production Week. Long hours and missed breaks are common place. 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. both mentally and physically. sometimes from scratch. It is advantageous to occasionally keep an eye on the set elements as they go in. then you can lend a hand. 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. This can often take a DSM by surprise. © John Wilkie 2005 53 . unless of course you have nothing else to do. 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. There is no real part for the Stage Management Team to play during the LX Rig. stress levels often reach fever pitch and working relationships are put under strain. 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. If the LX Designer requires the actual furniture then stand in items will have to be found for Rehearsals. 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. especially if the last several weeks in rehearsals have been slow moving and carried out at a steady pace. every department steps up a gear.

Adding Cues As the Director and LX Designer (LD) plot the productions LX states. When writing in several cues that go at the same time then group the cues using brackets e. 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. The LX Plot is used to add any missing cues to the Book. you can begin to add these cues to the Book. in brackets next to the cue. of course the main reason for this session is to create lighting states for the production. The number in brackets GO shows the fade time of the LX cue. Stand By’s can always be shortened as you become more familiar with the cues during the performances. LX 25 Fly Q 5 GO A small note. 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. this is where your blocking may be needed. It is also a good time to add Stand By’s and Calls to your Book.g. SX Fly’s 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 By’s (SB’s) in. will remind you of what the cue is.g. The downward pointing arrow shows that the e. Unless there is an emergency. then that is the end of rehearsals and most of your work will now be carried out onstage. Any of the following abbreviations can be used to mark in cues: LX SND Fly AV SM FX Lighting Sound or SD. Sound. Depending on the speed that the LX Designer and Director work then you should have enough time to add these elements. (10) LX 25 cloth is coming in.Stage Management 2: Deputy Stage Manager Handbook LX Plot This is usually the beginning of the Production Week for the DSM. (Starcloth ) Fly Q 5 © John Wilkie 2005 54 . ensuring that your cue numbers and that of the LD are the same.

22 Blocking Stage Management 2: Deputy Stage Manager Handbook Calls & Stand By’s Call: This is you call Mr Hart. 55 © John Wilkie 2005 . Mr Hart this is your call. 9 H sits (facing U. As with blocking.22 shows a Prompt Book page.Fig. complete with Blocking. Cues 1 M x’s DSL to G’s L S/B LX 23 – 26 Sound 12 & 13 Fly Q 5 5 H x’s USL to chair. cues and calls should be written in pencil. G steps DSC.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. Calls and Cues. Thank you.

As if it some impartment did desire To you alone. I'll follow thee. And for my soul. LX 25 Fly Q 5 Fig. LX 24 HAMLET It waves me still. into every brain That looks so many fathoms to the sea And hears it roar beneath.23 Ghost beckons HAMLET HORATIO It beckons you to go away with it. Unhand me.23 shows the script side of the above cuing sequence. then I will follow it. Exeunt Ghost and HAMLET © John Wilkie 2005 56 . with what courteous action It waves you to a more removed ground: But do not go with it. by no means. 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. MARCELLUS You shall not go. Sound 12 Without more motive. you shall not go.Stage Management 2: Deputy Stage Manager Handbook Fig. what should be the fear? I do not set my life in a pin's fee. gentlemen. what can it do to that. Or to the dreadful summit of the cliff That beetles o'er his base into the sea. HORATIO No. HAMLET 5 Why. I'll make a ghost of him that lets me! I say. away! Go on. Drawing lines across the two pages to link to the cues is optional. And there assume some other horrible form. my lord. HORATIO Do not. my lord. Clearly mark the word onto which the cue goes on and it is helpful to re-write the cues on this side also. my lord. Being a thing immortal as itself? It waves me forth again: I'll follow it. Still am I call'd.1 MARCELLUS Look. HAMLET It will not speak. HORATIO What if it tempt you toward the flood. HAMLET Hold off your hands. And makes each petty artery in this body As hardy as the Nemean lion's nerve. HORATIO Be ruled. LX 26 Sound 13 HAMLET My fate cries out. Go on.9 By heaven. I'll follow thee.

Thank you. Instead write them directly in the Cues column. 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). Cues M x’s DSL to G’s L 5 H x’s USL to chair. (as H x’s to chair) 9 H sits (facing U. Mr Hart this is your call. I have listed (below) one possible layout… Blocking 1 Calls & S/B’s Call: This is you call Mr Hart.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. S/B LX 23 – 26 Sound 12 & 13 Fly Q 5 Try to avoid cross referencing cues with moves in the Blocking column. G steps DSC.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 .

as they can usually also hear the show relay from where they are. I believe this to have changed over the years and most DSM’s add them by default now. Miss & Ms are standard (Mrs is never used). First names should never be used and the prefixes Mr. They are usually to be found in the Stage Management Office. again.Stage Management 2: Deputy Stage Manager Handbook Calls have traditionally been treated as a courtesy gesture between Stage Management and the cast. They rely on your calls to summon them to the stage in good time before their respective cues.g.e. In a professional theatre it is rare to find the backstage technical staff in the wings. 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. © John Wilkie 2005 58 . it is still advised to keep calling them until the end of the run. On the following pages I have listed a standard set of Backstage and Front Of House Calls that we use in the Academy. It is also standard practise to repeat the call. calls are normally between 2 to 3 pages long i. is the pace of the performance and this should also been taken into account. during a production for the entire show after the 2nd or 3rd night. Even so. Depending on the distance between the Dressing\Green Rooms and the stage. in order to avoid it being missed the first time around. Another factor. Crew Room or Green Room. e. Lists of names should be alphabetical so as to not give emphasis on any one performer over another. just in case. • • “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. 2 to 3 pages prior to the cast members entrance. Try to keep these calls cue specific and add the department wherever practical.

20pm 7.25pm © John Wilkie 2005 59 . Flies. this is your 15 minute call. this is your Act 1 Beginners call. LX. Thank You.10pm 7. 7. Thank You. Thank You. Stage Management. You have 30 minutes. 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. Backstage: Ladies and Gentlemen.55pm Backstage: Good Evening Ladies & Gentlemen. Stand By……. This is your half-hour call. Dressers & Crew Thank You. Sound.Stage Management 2: Deputy Stage Manager Handbook Standard Backstage/FOH Calls 6. You have 5 minutes. this is your 5 minute call. Backstage: Ladies and Gentlemen.. Dressers & Crew (add/remove departments as necessary) Stand By please…… Stage Management. You have 15 minutes. Sound. LX. Flies. Backstage: Ladies & Gentlemen.

Thank You. Welcome to The Royal Scottish Academy of Music & Drama. Please take your seats as this evenings performance of “(Name of show)” will commence in 1 minute. Thank You. Cast Performance Calls This is your call Miss Anstey Mr Connelly Miss Anstey Mr Connolly This is your call. Thank You. Shortly after show has started. Thank You. © John Wilkie 2005 60 . 2 minutes until lights up.27pm FOH:| Ladies & Gentlemen. Thank You. Please take your seats as this evenings performance of “(Name of show)” is about to commence. 7. 7.29pm FOH: Ladies & Gentlemen. That’s 3 minutes. Please take your seats as this evenings performance of “(Name of show)” will commence in 3 minutes. Thank You. 3 minutes until lights up. Backstage: 1 minute until lights up ladies & gentlemen. Lights up on Act 1. 1 minute until lights up. Thank You. _____________________________________ Backstage Lights Up on Act 1 ladies & gentlemen.Stage Management 2: Deputy Stage Manager Handbook 7.28pm FOH: Ladies & Gentlemen. in a free Space. Thank You. Thank You. Backstage: 3 minutes until lights up ladies & gentlemen. Backstage: 2 minutes until lights up ladies & gentlemen. That’s 2 minutes. Please take your seats as this evenings performance of “(Name of show)” will commence in 2 minutes.26pm FOH: Good Evening Ladies & Gentlemen. That’s 1 minute. 7.

After all. All of the shows elements should be ready for the Tech. there are two main ways of managing a Tech. please add the following call: “Ladies and Gentleman.Stage Management 2: Deputy Stage Manager Handbook At the end of the show. this evenings performance ran at (add running time). this is no more than the DSM was doing during rehearsals. may I take this opportunity to remind you of your next call. which is (add next call). time allowing. practise complicated sequences and put all of your preplanning to the test. The longest part of any Tech is normally always the beginning sequence. as the SM is no longer tied to a wing and can still communicate with all of the productions operators. I find it useful. how long this takes is often an indicator of how smoothly the rest of the session will run.” Technical Rehearsal The Technical Rehearsal is the culmination of all of your work thus far. it is ultimately the Stage Managers responsibility to ensure that the show runs as smoothly as possible. However. In most circumstances. Method 2 The DSM runs the Technical This system has a number of advantages and a few disadvantages. it is the common deadline for all departments. to memorise the opening sequence. Depending on the Stage Manager that you are working with. especially where a large cast is involved. Running a Tech is tantamount to crowd control. This is due to the fact that they have been in rehearsals learning the production for the last several weeks. © John Wilkie 2005 61 . Please see Stage Management 2: Stage Manager Handbook for further details on this method. Thank You. 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. 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. Radio Cans are not a viable option (mainly due to cost) and wired cans have to be used. It is your time to learn and fine tune your cues. The first thing is to ensure that everyone is there and ready to go at the scheduled time. as it would seem to be the obvious method. when the stage has cleared and the cast are all in their Dressing Rooms. That includes both actors and backstage staff. All the DSM has to do is to concentrate on cues and their Book. they are as follows… Method 1 The SM runs the Technical Several Theatres adopt this system. Radio Cans have made this method much easier to accomplish. This method is used almost exclusively by Opera. especially if the show has a complicated beginning.

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though in a few venues it is found on Opposite Prompt. The prompt desk is the epicentre of operations during any production and should be looked after by the shows DSM. 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).24 shows the layout of a typical prompt desk. when this occurs it is known as Bastard Prompt. It should remain free of any clutter and kept free of any liquids. © John Wilkie 2005 63 .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. Fig.

H: Clock Functions These buttons control all of the clock/stopwatch functions on the desk. J: Paging Buttons These buttons control which areas that your calls are sent to. K: Red Stand By Lights These array of red lights are for putting your operators on Stand By. Usually one is reserved for LX and the other is for everyone else. C: Telephone Ringer is used to cue live telephone rings you can choose either a conventional BT ring or a continuous ring. Flicking them downwards allows you to do this. L: Red Stand by Buttons These buttons are used for putting your Stand By lights on. When the green light is lit. F: Ring Select Most cans systems have at least 2 different rings or channels. D: Call This button will flash when another person on cans wants to attract your attention. making it a constant red. © John Wilkie 2005 64 . This action alerts you to the fact that the operator is standing by. 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. indicates that a cue has been given. E: Volume adjusts the volume of your cans headset. They are self explanatory. M: Green Go Lights These lights are used for activating your cues.Stage Management 2: Deputy Stage Manager Handbook A H 00:00:23 I K J B C L D E G M N F A: Panel Lights Switchable between open white or blue bulbs (for show conditions). N: Green Go Buttons These buttons are used for alerting the operator(s) that a cue has been given. shows a scaled up version of the Prompt Desk with all of it’s features labelled. I: Microphone For Backstage & FOH Calls. G: Microphone This switches your cans microphone on and off or continuously on. B: Effects LV Button The Low Voltage Button is used mainly for pyrotechnics. Push this button and it will flash on all of the cans sets that are operational. You can switch between rings if required or have both on at the same time.24. The light will flash until the operator presses the button on their Q-light box. The Stage button is usually disabled on most prompt desks.

for DSM’s when beginning a cueing sequence…. 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 By’s nonetheless. These should be used all the way through the process. © John Wilkie 2005 65 .GO!” And so on. this doesn’t matter. The following is a list of professional protocols. They will sit poised in the gap. Cue Lights). with the rest of the cues in the Stand by sequence… Their may be a pause between saying LX 21. as long as it is only a few seconds. Sound & Fly Red Stand By description of Buttons what happens immediately Operators (Verbally) “Standing By” before the cue happens. with practise. used by the industry. but becomes second nature. in order for the DSM to get used to them. The cue lights are a back up in case the cans system fails.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. you are ready to cue the sequence when the cue line or move arrives in the script. When all of the operators have acknowledged both verbally and through their stand by lights. It is Thank You” also a good tip to give the operator a Cue Lights Flick LX. A few words before the cue line begin to say your first set of cues in the sequence. It takes a bit of time to get used to.e. On the actual cue word or move. them.e. Cueing verbally and operating cue lights can be a bit like singing and playing the piano at the same time. to remind Operators Click their cue light box button. simply say “GO!” Example Just before cue (verbally) “LX 21. Sound 15….and the cue line. Visual Cues i. Sound 15………(cue arrives)……. 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.

"Fade". and can detect the slightest whisper. so that you can all turn your headphones volume up high. unless it is absolutely crucial i. All operators should talk quietly. More Cans Etiquette : "Quiet on Cans please" other operators must respond with silence. this becomes difficult if the operator has a lot of quick-fire cues in succession. "Go" is the only word that can be used to initiate a cue. wherever possible hold the green button down for a few seconds or more. "Standby LX Q 11" operator responds : "Standing By" "LX Q 11 Go" operator may respond "Running" if its a cue which is not obvious.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. When giving a GO on cue light do not flick the green on and off rapidly. this can be easily missed by the operator. Backstage Calls should not be attempted during Stand By’s as there is little time when a sequence is upon you. Operators should ask the DSM if it is OK for them to talk at all times (not just during Stand By’s). Volume The headsets are extremely sensitive. "Going off Cans" when any operator leaves their headset “Back on Cans” when any operator returns to their headset.e. Switch your cans off when you aren’t using them. Try to take the operator off Stand By at the earliest your earliest possible convenience by flicking off their Stand By light. this means cutting out any unnecessary chatter and focussing the operators on the job at hand. "Stop" are NOT appropriate. 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. the Prompt desk microphone is extremely sensitive and doing this will avoid deafening those backstage and FOH. © John Wilkie 2005 66 . Etiquette on Cans It is part of the DSM’s remit to maintain discipline over cans. a problem has developed with the imminent cue. and the "Go" is at the end of the phrase. It is very important that the "Standby" is given at the start of the phrase. or is a long fade. There should be NO chatter on cans during stand by’s.

Restarting When recommencing. 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. at some point (usually after the first cue) there will come a time when either the DSM. • • • • • • • 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. the more mistakes that are made the longer the session will last. it is also for actors to rehearse with any technical elements in the production. especially when you are tired yourself and it is easy to lose focus. Director. 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. this could lead to frustration and eventually bad temper.Stage Management 2: Deputy Stage Manager Handbook Holding Inevitably. There really are too many reasons to list. This includes basic elements such as treads. There is nothing more annoying to a Director than being left in the dark. or not. Several reasons why a Tech should stop Techs can stop for a myriad of reasons and by several departments here are a few examples…. stand all of your operators by first then give the cast a line to start with. with a bit of an © John Wilkie 2005 67 . Remember that the technical rehearsal is not only for technicians. operator or cast member will hit difficulties and have to stop. rakes etc… They may be wearing awkward shoes for the first time or an unwieldy period dress. When all of the cast and operators are ready and the scene has been set back to the point you want. It can be self-defeating. Thank You!” (or something similar) and away you go. 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. shout “In your own time. All of these issues should be considered before complaining that the Tech has stopped yet again for acting notes! However. 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. It is a catch 22 situation in many cases as tiredness leads to mistakes through lack of concentration. The reason for the stop should be given to the Director. mainly due to tiredness. gauge the Director and make a decision on whether you should politely urge the cast on. Again. a few lines before the cue will usually suffice. usually through the Stage Manager. ladders. Try not to go too far back. A tech session usually only lasts a day. It is often a fine-line to tread. There is a real skill in doing this.

Ideally. 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. you can anticipate the cue by pulling it back to the word “on”. This is especially important when cueing a flying piece. © John Wilkie 2005 68 .Stage Management 2: Deputy Stage Manager Handbook allowance given for any overspill the following day. without stopping. it takes 2 seconds for the bottom of the flying piece to clear its header and be seen. Dress Rehearsal Once the Technical is over and all of the shows technical issues have been rehearsed to everyone’s satisfaction. Cues will come thick and fast and can take the unprepared DSM by surprise. In order for the cue to not be late and depending on the speed of the piece.e. All of these pressures siphon down to the technical team and especially the person who has been charged with running the Technical. LX 25 Fly Q 5 The director wishes for FlyQ 5 to be visible on the word “thee”. you. try to read ahead of where you are at in the Book to anticipate the next set of cues. for example. especially if there are performers under or near to it. who constantly has an eye on the overtime budget. The whole schedule can be knocked out of shape if these sessions over-run. under show conditions. The main aim of a Dress Rehearsal is to run the show. 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 will depend on the schedule and how the Technical ran. The pressure is usually at it’s highest during these sessions. Go on. 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. When cueing a flying piece. two Dress Rehearsals are the minimum that you would want prior to opening. is also under pressure. Anticipating Cues Anticipating a cue is an exercise in timing. remembering to keep your eye on the script for actors drying etc…. i. it often takes a few seconds for a flying piece to be seen after the cue has been given. If you feel a flying element is too fast or slow then tell your Flyman to speed up or slow down. especially on the Director. time allowing. Example HAMLET It waves me still. in it’s entirety. The Production Manager. I'll follow thee. a series of full onstage runs commence. This isn’t always possible if you have a complicated sequence to follow. who will want the Tech over as soon as possible in order to be ready for the Dress Rehearsals the next day. try to keep an eye on it coming in. accordingly. Concentration must be at it’s highest during this session.

In some Theatres. This occurs simply because of a lack of experience within the Company. It is the DSM’s decision (in consultation with the Stage Manager) as to what goes in the report. along with your Stage Manager.O. cues will seem to hit you and your operators at break-neck speed and the risk of making an error increases. I have changed this due to the volume of errors that tend to happen during the first Dress Rehearsal.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.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. As I have mentioned earlier. The Show Report should contain only facts. a good SM will work with you to prepare a fair report.25 is an example of a Show Report.A for designs R. so the cast should also have a copy emailed to them. the DSM would be their all night writing all of these down. 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. It is a report of any incident that has not been rehearsed prior to the first night.A) for performance R. © John Wilkie 2005 69 .O. there is no room for personal opinions or feelings. it is then left in the Stage Management office for all to access. the Show Report is a book that is to be filled out. 100% honesty is required when adding to the Show Report. In the Academy we fill in a report form and then distribute these reports to the relevant staff. Fig. it is imperative that everyone in the Company has access to this document. As there is no communal report book for all to reference. sit down with the rest of the SM Team for 5 minutes and take down anything that they have noted. use them as an extra pair of eyes and ears. the Dress is the first time that the production has run to time. Having an ASM in each wing can aid you in filling in a Show Report. At the end of the show. though at RSAMD this has been moved to the second.

Stage Management 2: Deputy Stage Manager Handbook Fig.e.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 . 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.g.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 .25 Production Venue Audience Date SM DSM ASM ASM ASM Notes 24Hr Fomat.

Stage Management 2: Deputy Stage Manager Handbook The Run © John Wilkie 2005 71 .

Three Minutes to Curtain Up Two Minutes to Curtain Up One Minute to Curtain Up FOH Clearance • DSM Stand Operators By. Setting Up 16:00 Call for Set Up Set Up for show starting onstage. Starting at this time allows you to buy any running props or maintenance items prior to the shops closing. Buy Running Props if required. • DSM Touch Checks • ASM(s) act as runners Check Wings If running late you can open the house and continue checking in the wings.Stage Management 2: Deputy Stage Manager Handbook Setting Up. Check that they are actually in their dressing rooms. • SM lets DSM know to start the show. Checking and Starting the Show The DSM plays an integral role in both setting up and checking. • 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. 19:26 19:27 19:28 19:30 © John Wilkie 2005 72 . 18:55 Half Hour Call • DSM Calls the half • DSM Checks Personals & Actors • DSM returns and checks Prompt Desk & Q-Lights. Don’t trust signing in sheets. The following is an example of the procedure leading up to a performance. 17:00 18:00 Checks 18:30 Start Check – Onstage first. Try to check their personals with them. • SM Reads from a single Master Settings List. • DSM tells SM that their checks are complete. SM announces that “the house is now open” backstage. • ASM(s) Stand Actors By verbally. Dinner Continue Set Up A good time to have a chat with your team.

familiarise yourself with these policies and try to ensure that both yourself and your cast get the required breaks. can bring boredom on swiftly. you put aside thoughts that on the following Monday the process begins again with a new play. The Strike & Returns The DSM is expected to fulfil their remit by completing both the Strike and Returns. it is treated as a commissioned work that the company has paid you to compile on their behalf. The feeling of achievement after a successful opening night can leave you feeling exhilarated and extremely satisfied. This is the point that every department has been working towards.. yet an arduous Rehearsal and Production period can see stress levels dent your confidence and leave you both physically and mentally exhausted. complacency or boredom. Complacency is a result of lapses in concentration often caused by boredom or exhaustion. This time you do it with a paying audience. the pressure reaches a new and final level. A long run of a show alongside a script that you may personally not like. 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. Adrenaline keeps your exhaustion at bay as you try to keep resolutely focussed on the job ahead. it is a job that can take you on a rollercoaster ride of highs and lows. “With great power. This tends to be counteracted by adrenaline. some companies send their past Books to the local library for public reference. To sum up To sum up the role of the DSM is not an easy task. So much is dependant on a DSM performing to a high standard that a Production can suffer severely if this is not the case. 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. Royalties for such an undertaking usually go straight to the company that commissioned your work. Once the show is over. 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. If working in a Repertory Theatre. The Book does not belong to you. comes great responsibility” Spiderman’s Uncle (2003) © John Wilkie 2005 73 . After a length of time.Stage Management 2: Deputy Stage Manager Handbook Opening Night After a number of Dress Rehearsals and perhaps a Public Dress and/or Preview. 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. The former is most likely to be present after a long Production Week and during the opening night. Equity has very strict rulings over statutory breaks between rehearsals ending and the evening performance. your Book should be handed to your Stage Manager for filing. Remember…. though at times it is possible to negotiate a royalty fee with the company concerned.

Stage Management 2: Deputy Stage Manager Handbook © John Wilkie 2005 74 .

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