Backstage

You did it! Your performance is done. But we don’t want all your students to just disappear after the curtain closes, especially if you’ve got more performances coming up. This article is focused on creating a quick and easy post-show routine for your students after each performance. If everyone chips in and helps out, it shouldn’t take longer than 10–15 minutes after the show ends. For more information about the big clean-up after your final performance (where the set is torn down, the theatre is cleaned from top to bottom, and the space is returned to its regular state — aka, strike), please check out this article: Four Tips for an Effective Strike. Teachers, share these tasks with your drama students so they know exactly what to do after each performance. Print this page out for students to keep with their scripts, or post it backstage to refer to. Feel free to adapt/eliminate any tasks as appropriate to your show. 1. All students: Complete all your assigned tasks BEFORE you go out into the house to see your friends and family. If one person leaves early, everyone will think they’re allowed to leave early, and then nothing will get done and the backstage will be a disaster. Many hands make light work — if everyone pitches in, then everyone will get to leave on time. Student actors: Before leaving the dressing area, remove your costume and get back into your personal clothes. Leave all props and equipment backstage; don’t bring anything show-related out into the public area. Technicians, stage management, and front of house can stay in their basic black clothing to complete their tasks, unless they wish to change. 2. All students: Clean up after yourselves! Every student involved in the show must contribute to keeping the theatre and backstage clean and tidy at all times. Clean as you go — you can tidy during the show, when you aren’t onstage, and during intermission. 3. Actors: Care for your costume. The costume team is there to help you, but they aren’t there to pick up after you. Ensure your costume is hung up neatly in its assigned position (on the costume rack, on a labelled hook, etc.) and all your shoes and accessories are accounted for. This will keep you from going back onstage the next day looking like a wrinkled wreck. If any part of your costume is broken or missing, let the costume team know right away. 4. Actors, props team, and assistant stage managers: Check to make sure all props are back in their storage area, especially any props that you yourself handle. Make sure they’ve been retrieved from wherever they were left (backstage, in the wings, onstage, etc.) and in good condition. If they need repairing or a touch-up, let the props team know right away. Make sure any prop weapons are safely stowed away in a locked container. 5. Technicians (lighting, sound, mic assistant, etc.), stage management, and front of house staff: Complete your individual closing duties as directed by the appropriate department head. Make sure all technical equipment is shut down correctly. Remove batteries from microphones. Remove any garbage from your workspace. Make sure any food items are stored safely and/or disposed of. Go through the audience area and pick up any items left behind (snacks, drinks, programmes, lost & found items, etc.). Sweep and/or mop the stage. 6. All students: take all your personal items home with you: backpacks, personal clothing, water bottles, etc. Student actors may want to take home costume items if they’re sweaty or dirty and wash them, but only do this with express permission from the costume team. They might have a laundry schedule already, and you don’t want to accidentally ruin or forget that item at home. 7. Stage management: Leave a “ghost light” on in the theatre before you shut off all the lights. A ghost light is a small, single-bulbed light (usually a floor lamp of some sort) that shines on the dark stage throughout the night when the theatre is closed and unoccupied. This is not only for superstitious purposes (you’re supposed to leave a light on to keep the “theatre ghost” company even when actors aren’t present in the theatre) but also for practical purposes — this way people don’t trip in the dark. Your school may have different routines for turning off the lights; either way, follow the proper procedure for closing up the theatre. 8. Be sure to SIGN OUT on the attendance form before you leave! 9. If you are meeting with friends or family members in the audience after the show, please keep these visits brief. Don’t linger for ages at the school; someone has to lock up (likely your teacher) and they want to go home too. Arrange to meet with your visitors somewhere out of the theatre after the show. 10. Hydrate and get a good night’s sleep. You need to be rested and ready to do the show again the next day! What other post-show tasks are your students responsible for completing prior to heading out for the night? Share your ideas with us!

Before the performers arrive at the performance space, the student technicians are already there and hard at work. For the purposes of this article, “student technicians” refers to the entire performance crew: stage management, sound and lighting operators, costume and props team members, set and backstage crew, box office team members, front of house staff (ushers, concessions, and house managers, and assistants of all kinds. It takes many people to make a show run smoothly, and having a strong, trustworthy crew makes that process much easier. Here is a list of 10 general tasks that student technicians should complete during their pre-show time. Each technician will have their own responsibilities that are specific to their department, but this is a good overview for the full crew. Print this page out and post it backstage, as well as in the various technical theatre workspaces. Feel free to adjust or omit any tasks as appropriate to your production. 1. Come to the theatre dressed appropriately for work. Technicians should wear black pants, a plain, long-sleeved black shirt, black socks, and comfortable black closed-toe shoes (no sandals, flip flops, or Crocs). These clothes should be easy to move in and close-fitting, so they don’t get caught up in any equipment (especially if you’re moving large set pieces). Depending on your role, you might need to wear protective gloves or steel-toed safety shoes. Front of house team members may also wear black, but a more elevated version, for example, a black dress shirt, dress pants, and smart shoes. Regardless of your role, if you have long hair, keep it tied back away from your face. 2. Arrive on time, which is actually a few minutes before your call time. Different technicians will have different call times for various reasons. SIGN IN on the attendance form, and get to your workspace. Don’t expect the stage manager to chase you down or have to text you to find out where you are. 3. Review any notes or updates that have been sent out or posted from the director and/or stage manager. Make note of them, ask for clarification if necessary, and review and practice any changes or adjustments before the house opens. 4. Tidy your workspace. Make sure the area is clear of debris and garbage. Sweep and/or mop as appropriate. 5. Do a safety check of your workspace and equipment. The specific tasks will vary from position to position; each department should have their own pre-show checklist and technical manual. If any of the equipment is damaged or malfunctioning, report it to the stage manager right away and follow the appropriate protocol for getting the item repaired, whether that is following a list of troubleshooting tasks to fix the equipment yourself, or calling the head technician to do the repair. 6. Make sure small technical items and safety/emergency equipment are readily available and in good condition, such as batteries, flashlights, glow tape, safety pins, and first aid items. Student technicians should also know where the closest fire extinguisher and nearest emergency exits are, just in case. 7. Complete any technical checks or run-throughs, with or without cast members present, as needed for the show. This could include doing microphone checks, adjusting band levels, reviewing lighting cues or set changes that are dependent upon cast members to do or say something, or practicing any special effects that need to be practiced prior to showtime (e.g., during fight call). Again, this will vary from position to position and show to show. 8. If you are on headset for the show, do a sound test to ensure you can hear and be heard by the rest of the crew. 9. Pitch in and help other crew members with their pre-show tasks. Many hands make light work. If you aren’t specifically asked to help, check in anyway and see if you can lend a hand. Otherwise, stay calm, cool, and out of others’ way. Stay out of the backstage area unless your workspace is back there; there’s already enough chaos backstage without additional bodies around. 10. Check in with your fellow technicians and see how they’re doing. If you’re an apprentice technician, check in with your mentor and ask for feedback or tips to improve your work. If you’re mentoring a new technician, give them some positive reinforcement to boost their spirits, or share your best practices and advice to help them grow. Get yourself into the theatre mindset — try to leave any worries or issues at the door and focus on the task at hand, which is putting on an incredible show.

The hour before a performance starts is always an exciting and potentially nerve-wracking time. Everyone is feeling their feels, there are many moving parts and tasks that need to be completed in a limited amount of time, and everything needs to be done as calmly and efficiently as possible. But some students don’t know exactly what they’re supposed to be doing when they get backstage, and inadvertently add to the chaos. For those students who need a little guidance, here are 10 tasks that student actors should complete prior during their pre-show time. Print this page out and post it backstage. Feel free to adapt/eliminate any tasks as appropriate to your show. 1. Know when your call time is. Different performers may have different call times for a variety of reasons. Always arrive a few minutes before your call time and SIGN IN on the attendance form. Don’t expect the assistant stage manager to chase you down or text you to find out where you are. 2. Review any notes or updates that have been sent out or posted from the director or stage manager. If the notes have been posted backstage, initial the sheet next to your notes to indicate that you have read them. If you need clarification on what the note means, be sure to ask the appropriate person (stage manager, director, costume or props team, etc.). 3. Stay hydrated. This will help you maintain your vocal health and keep you feeling well. Only drink plain water when you’re in your costume, because you don’t want to accidentally spill anything and stain it. Make sure your water bottle is labeled with your name, and be sure to take the water bottle home with you after each performance (water bottles are one of the most frequent items left in the backstage area). Never leave your water bottle on the props table. 4. Keep the backstage tidy. The backstage crew members are not your servants and should not have to pick up after you. Keeping the backstage area clean and tidy demonstrates respect to everyone involved in the show, and keeps the chaos level to a minimum. Pick up your garbage, clean up any spills immediately, hang up your costume neatly, stay away from the props area unless you’re checking to ensure your prop is in the right place, and keep your personal items to a minimum and out of the way. 5. Check in with your scene partners and see how they’re doing. Communicate and let each other know if anything has changed or needs adjusting prior to showtime. 6. Warm yourself up physically and vocally. Participate in group warm-ups and show circles, as they’re important not only for actually warming up, but for also community bonding. But also do your own warm-ups; you know your body and voice best, and you may need to do additional physical or vocal work to get your body prepared for showtime. That may involve additional stretching, running in place, jumping jacks, shaking your limbs, humming, scales, vocal exercises, checking in with your vocal director — whatever you need to do to be physically ready. 7. Warm yourself up mentally. If you’ve had a bad day, or you’re feeling tired or nervous, or you’ve got a test the next day, you have to do your best to set that aside for a couple of hours until the performance is done. There are exceptions to this rule; for example, if you’re genuinely sick or injured, or if there is a family or personal emergency, then you need to let your director and/or stage manager know as soon as possible so they can put a backup plan in motion. Otherwise, you need to get into the actor mindset and get ready to perform. You might prepare by meditating or doing breathing exercises, listening to some music that pumps you up, doing a silly dance with your castmates — again, whatever works for you to be mentally ready, that doesn’t interfere with anyone else’s pre-show preparation. 8. Do your own personal pre-show checks. The backstage crew will have tasks and checks assigned to them to complete, but mistakes may occasionally happen and things can be missed, so it’s always best to ensure that anything you personally wear or use is in place, for your own peace of mind. Make sure your costume is clean and complete (all accessories and both shoes accounted for), all your props are where they need to be, and everything is in good working order. Don’t touch anyone else’s stuff. If a problem arises, notify the appropriate person immediately; don’t wait until it’s too late to do anything about it. 9. Complete any special requirements for pre-show, such as fight call, lift call, intimacy check-ins, microphone checks, or special hair and makeup application. Do these as quickly and efficiently as possible and get off the stage. 10. Be a great team player. Respect your cast and crew mates by staying out of others’ way and remaining calm and cool backstage. Everyone has their own way of preparing for a performance, and their own tasks to complete prior to showtime. Don’t add to the stress and chaos. Avoid things like monopolizing the bathroom or the makeup mirrors, don’t run around backstage, stay out of the way of technicians and crew members trying to do tech checks and sweep the stage, and help each other out. You’re all working together to achieve the same goal: putting on a fabulous show. The more you can do for each other, the better the show will be.

Let’s talk about dressing room setups. When your students are getting ready for a show, are they comfortable with their changing facilities? Does your setup meet the needs of all your students? What’s your policy on student privacy? There are many reasons why a student might need a different dressing room setup without being singled out in the process. You may have trans and non-binary students. You may have students who are uncomfortable changing in front of others because of modesty concerns or body image issues. Many students need a private space to change, so put an option in place before it becomes necessary. Make the option commonplace and available to all students, regardless of their reason. We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: When getting ready for a show, how do you make your actors comfortable and not single anyone out? How do you address students who want privacy for changing? What solutions have you tried? Separate stallsI worked in a youth theatre that simply had one big dressing room area with several stalls for changing. (Picture the changing stalls when you try on clothes in a store.) It was great! Everyone had privacy to change and everyone was together in the dressing room area to do makeup and such. There was no need for binary male/female spaces. (Jennifer R.) We’ve made these pop-up changing rooms available to anyone who would like to use them. (Laura M.) Editor’s note: Need a simpler/cheaper solution? If you have drop ceilings, you can push sheets between the metal grid and the ceiling tiles to make your own pop-up changing room. You can also put a clothes hanger in the ceiling and hang a sheet off of it, or ask parents for pop-up shower tents. Student choiceLast year one of our trans boys was met with a rapturous chorus from the other boys from their changing room announcing, “_____ your costume’s in here!” Our students have the option to change in the changing room of their choice and I make an announcement to the entire cast that the backstage bathrooms are available to anyone. What has worked for us is to give everyone the same message and not make trans kids feel any more segregated than they already may be. So no one-on-one chats, for instance. Just mutual respect. This works for us, and each year the number of trans kids participating has increased. (Georgina C.) I typically have three dressing spaces (male, female, and gender neutral), and students are allowed to select whichever one they’d like. They’re also welcome to use the bathroom stalls if they want more privacy. All wig and makeup assistance is done in my black box space (so that people are going in and out of various dressing rooms). I have closed off areas backstage for costume changes if needed. (Heather C.) If you have a trans person in your company it’s important that you don’t “out” them or make them identify publicly as trans if they choose not to. I worked on a show with a trans person who identified themselves to me as trans but opted not to reveal this to the company. They were happy in the shared dressing room of their identifying gender and wore base layers to avoid any need to change in front of anyone, although each dressing room has a private bathroom area. It also sparked us, as a theatre, to create a policy around transgender company members for the future so we have a careful and respectful process in place. The biggest and most helpful thing was asking this cast member to advise us about what they wanted/needed and following that carefully. We regularly checked in with them, usually over email, to keep their anonymity and to see if our plans were working and they felt supported. It worked well. (Sally G.) I have a non-binary student. For a recent school performance, the students were given a survey to fill out asking their dressing room preferences: male, female, or gender neutral. The students’ survey responses were used to assign dressing room spaces. (Lynn K.) Base layersEditor’s note: Be aware of students with body issues who may be uncomfortable being in their undergarments around others. All kids are required to have an under layer — a neutral-colored tank top and slim-fitting shorts or leotard. (Rebecca D.) My kids all wear “underclothes” (tank top and shorts/leggings) so any changes that need to happen can happen anywhere. They go to whatever bathroom to make the initial change, then that’s what they wear under costumes. (Andi C.) In my youth theatre, everyone must be dressed in undergarments that allow for changing anywhere. Usually a dance liner or black tank top and spandex shorts. No issues. (Roberta W.) Set a scheduleCurrently we have set dressing room times because we just block off a space in our costume shop. Anyone who is uncomfortable with that uses a bathroom. This works for gender and other possible modesty needs. (Shelby S.) Finding non-traditional spacesA few years ago, we arranged for a student to use one of the private bathrooms in the main office as their changing room. (Jim D.) We don’t have dressing rooms. We don’t judge anyone for where they dress. Some go in my bathroom, some dress backstage, some go in the student bathrooms. No one talks or discusses who goes where. Many of my students identify as trans or non-binary… respect is a norm. Not having dressing rooms helps this, I think. Nothing is identified and because there really is no privacy my students are told to wear underclothes like leggings and undershirts under their costumes and show up that way for comfort’s sake. (Wendi J.) We are lucky that we have single-use bathrooms available in the backstage area. Wearing the underclothes is key as well. I allow students to arrive very early if they want to. (Joanne F.) Get creative and innovative with makeshift dressing rooms. Any kind of tri fold partition will work. That way you don’t have to identify gender. It’s for anyone to use. It’s an option for everyone. (Cynthia W.) I used to use the facility restrooms. I have a number of students who aren’t comfortable with changing in front of others, for modesty or body image issues. That’s not the best solution, but it’s another alternative. (Michael A.) Disclaimer: Check with your administration and district policy on anything discussed in this article with regard to LGBTQ+ (LGBTQIA, LGBTQ2S), as laws vary from region to region.

As we all know, the role of the stage manager is a large and challenging one. And, while the stage manager is an amazing person, it’s always useful to have help. Enter the assistant stage manager! The assistant stage manager (or ASM) is a crucial part of the artistic team because they also to help make the show happen behind the scenes. ASMs are responsible for helping in any way they can to make sure everyone’s jobs run smoothly. Some shows have multiple ASMs, depending on the size and scope of the project. Being an assistant stage manager is a great way for students to get involved in theatre, no matter their age or experience. A great ASM is helpful, hard-working, forward-thinking, organized, flexible, and a good listener. But what does an ASM actually do? Let’s take a look at the three most common duties and responsibilities of an assistant stage manager. Assisting in many different capacities during rehearsalsDuring rehearsals, ASMs can take on a ton of different jobs. Some of these tasks may include (but are not limited to): • Helping to set up the rehearsal space and keep it clean and tidy • Assisting the stage manager with administrative tasks (for example, the stage manager may delegate calling latecomers to the ASM so the stage manager can stay in rehearsal and take notes) • Taking notes and updating the prompt book if the stage manager is sick or otherwise unable to attend rehearsal • Acting as stage manager and taking notes in separate rehearsals (for example, the stage manager may stay with the director and take blocking notes while the ASM goes with the choreographer to record dance combinations) • Liaising with the costume and props teams • Standing onstage as a placeholder for an absent actor • Reading cue lines or prompting actors during run-throughs (so the stage manager is free to take notes) • Running lines with actors who are at rehearsal but not being used at that moment • Reviewing blocking and choreography while other scenes are being rehearsed Being flexible and ready to take on any task is an important asset of an assistant stage manager. You never know what may arise on a particular day, and the ASM is a great person to help get those tasks done. Running the backstage during the showDuring the actual performances of the show, the assistant stage manager will be backstage, on a headset that is connected to the stage manager and other operators. The ASM is the backstage eyes and ears of the stage manager. They are the conduit between the booth and the backstage, and can communicate any issues that are going on either way. For example, an ASM can communicate to the booth that an actor is going to be late for their cue (perhaps their zipper got stuck during a costume change) so the stage manager may be able to make a cue adjustment. ASMs are backstage problem-solvers and often deal with emergencies such as helping with a quick change, grabbing forgotten props, or touching up makeup. Once during a past show, one of my ASMs had to hold up a door that had gotten knocked off its hinges for the last five minutes of the act until we could fix it during intermission. That ASM definitely saved the day in that situation! ASMs frequently assist with set changes during the show and in between acts, and with making sure these happen efficiently. My ASM for Heathers: High School Edition was responsible for helping to mop up fake blood from the stage during intermission (which the audience always seemed to enjoy watching). ASMs also occasionally get to assist with special effects such as fog machines, snow machines, confetti cannons, and other exciting technical aspects. When they are backstage, ASMs generally wear a black shirt, black pants, and black shoes so they are more difficult to be seen by the audience, and to indicate that they “aren’t supposed to be seen” if they do have to go onstage. Occasionally, ASMs are outfitted in a show-appropriate costume if they have business to do onstage and the director wants that look for their show. “Other duties as assigned”Assistant stage managers are frequently the students who “git-er-done” and are delegated various projects and tasks by the stage manager and director. The ASM is that extra set of hands that is just so helpful when there are a million things to be done. That is one of the coolest things about being an assistant stage manager – every day at the theatre is different. Here’s just a few of the weird and wonderful things that ASMs have done on shows I’ve worked on or seen: • Operated a crocodile puppet • Sat backstage by themselves because all the actors were onstage for the entire show (so they cleaned the backstage area) • Dressed up in a mascot costume when there weren’t enough actors to cover that role • Actually gone onstage last-minute, in costume, with book in hand, to cover the role of another student who was too sick to perform • Pre-set props onstage • Fixed broken set decorations • Acted as fight captain and ran fight call before the show • Folded and stapled programs • Swept and mopped stages • Disciplined an actor who was being loud backstage • Took rehearsal photos to be used in social media posts • Administered first aid backstage when an actor got hurt • Changed batteries in a microphone pack in less than 15 seconds No two rehearsals or performances are ever the same for an assistant stage manager, and the variety and energy really suits some students who enjoy hands-on, unusual tasks. If this sounds like a fun and interesting job, why not give it a try

After a show closes, there is often a ton of stuff left over – set pieces and flats, furniture, costume items, props, makeup and hair products… the list goes on and on! Ideally, your school would have some sort of storage area where you can keep items to reuse for future shows, which saves time and money in the future. Depending on your school’s facilities, this may be a full-sized room for your drama department, or it may be as small as a closet within your classroom. Either way, there’s always only a finite amount of space. So what do you do with all your production stuff? Here are some suggestions for you! • Cull ruthlessly. If an item can be easily replaced (from the dollar store or a thrift store, for example) or found in a student’s closet (such as basics like jeans and t-shirts), you don’t need to keep those in stock. If an item is worn out or broken, let it go. If an item hasn’t been used in a really long time, get rid of it! • Keep a strict inventory of what items you have in stock. Make a note of anything that has been added, removed, or altered, and the last time it was used. This way you’ll know exactly what you have and how often it’s actually been used. • Repurpose as much stuff as you possibly can. Set pieces can be changed with paint and décor; furniture can be reupholstered or covered with slipcovers and blankets; lumber can be cut down and reused; costumes can be altered (just be sure that any alterations can be reversed). • Try to dismantle large items (such as flats or set pieces) so they are as flat and compact as possible, which makes them easier to store. Wood can be stacked neatly. Large pieces might be able to be stored upright in a garbage can (or something similar). • If you know another school or theatre company is doing the same show as you in the near future, find out if they would like to rent or borrow your items. They may be willing to hold on to your items for an extended period of time, with the understanding that your school can get the items back in the future if and when you need them. Or, rather than keep oversized items in stock all the time, see if you can borrow or rent what you need from other schools or theatre companies. • Speak to local thrift stores to find out if they’d be willing to arrange a rental program with you – in exchange for frequent or bulk purchases for your production, they might be willing to give you a price reduction, or let you return/exchange the items or give you store credit for future productions. This way you don’t have to keep as many items in your storage area and can save a bit of money on future productions. • Give other departments leftover items if they are useful to that class (wood/metal for shop classes, fabric/costumes for fashion or family studies classes, paint and art/craft supplies for visual arts classes, and so on). • If you know you won’t be using certain props or costumes again in the future, let the students keep them as souvenirs. • Alternatively, you could auction or raffle off props or costume pieces (maybe even have your students autograph the items) to raise a little cash! • Some hair and makeup items can be sanitized and carefully stored for future use. Items such as mascara and eyeliner should either be supplied by the students using them or disposed of after use, to avoid germs. • If you are disposing of items, be sure to research proper disposal rules and regulations for your municipality. Try to donate or recycle as much as possible, to keep items out of the landfill. • If it’s possible within your budget and okay with school regulations, look for alternate, off-site storage possibilities such as renting a storage unit. If you have some more great storage ideas, share them with us! Good luck, and happy organizing!

Once the final performance of a show is completed, what comes next? It’s time to tear down the set, clean the theatre from top to bottom, and return the space back to its regular, unadorned, clean and tidy state. This process is called the strike , and it is an important part of the theatrical process. In professional theatre, strike is handled only by specific crew members, but in school shows everyone is needed to help! It’s natural that after the final performance, everyone will be eager to get home (or, more likely, to get to a closing night party!). But the faster and more efficiently the strike is completed, the sooner everyone can get out of there. Moreover, since the full cast and crew helped to make the show, it’s only proper that the entire cast and crew work together to finish the process through the strike. Read on for four tips to help make your strike efficient, positive, and stress-free. 1. All hands on deckFrom the very beginning, make it clear that every single person (students, teachers, parent volunteers, etc.) associated with the show is expected to attend strike. This is non-negotiable. Everyone – from the actors to the crew to the producers – needs to attend strike. The phrase “Many hands make light work” applies here in spades. Include strike in your schedule from the get-go, and make it clear that everyone is to attend for the duration, whether it be right after closing night or the day after. That way the excuse “I didn’t know about it” doesn’t apply. As well, make it a rule that nobody leaves until everything is done. Letting some students leave early can create resentment: “Why did so-and-so get to leave early and I didn’t?” Everyone helps – no ifs, ands, or buts. 2. CommunicateA few days before strike, make sure to inform the full cast and crew of what needs to get done during strike. Make specific lists and post them backstage. The more people who know what’s going on, the fewer questions will have to be answered later. 3. DelegateSeparate students into groups and assign areas of responsibility to the groups. Think in terms of categories: set, costumes, props, technical areas (such as lighting and sound equipment), backstage areas, green room (if you have one), dressing rooms, washrooms, kitchen/food area, etc. Assign specific tasks to each student in the group. You could make a checklist and have students initial their tasks once they’ve been completed. Assign one member of the group to act as leader and have them sign off on the entire area once it’s complete. Once those tasks are completed, students should move to another group to assist them. There are also those last particularly tedious jobs that get left until the end, such as sweeping or emptying garbage containers. Have a master checklist with those tasks that can be assigned once the major tasks have been completed. 4. Safety firstBe sure that students wear work clothes (as they will get dirty and sweaty) and sensible, closed-toe shoes. If necessary, provide personal protective equipment such as gloves, hard hats, or dust masks. Dismantling some large sets may require the use of drills, other tools, ladders, or lifts. Only students who have been properly trained and/or certified to use these items should use them. Students must not be assigned tasks that they cannot complete safely. As well, have water and some small, healthy snacks available for your students. Everyone is generally hungry and tired after a show, and having something to nibble on can definitely help students work more effectively. What are your best tips for an effective strike? Share them with us!

An organized backstage is a calm backstage, and a running list can help keep things running smoothly during a production. What is a running list? It’s a scene-by-scene breakdown of scene changes and transition notes, prop entrances and exits, and quick changes, in list form (often colour-coded). It indicates who is in charge of each task and when it needs to happen in the show. It is pinned up in a common backstage area for easy access, to assist backstage team members in knowing what comes next in the show. It is especially important and useful in school shows and community theatre productions when you may have different people (whether that be student crew members or parent volunteers) assisting backstage on different nights. But even if you have the same crew for each performance, it is really helpful to have all that crucial information available at a glance. Creating a running list can be a bit time-consuming, but your backstage crew will love you for it! How to create a running list:1. Go through your script, scene by scene. List each scene by act and scene number. Include the title of the scene and/or the location of the scene, and any musical numbers performed in the scene if the show is a musical. If your show doesn’t have specific scenes, break down the acts into smaller beats, and indicate an important occurrence in the scene (such as “the chase scene” or “the balcony scene” or “Mrs. White’s death scene”) so the scenes are easily identifiable. This helps the crew keep the scenes straight, especially if they are less familiar with the show. It is also useful for younger or less experienced cast members, to keep the show in order in their minds. Include all scenes, even scenes that don’t require any changes, as this may change during technical or dress rehearsals. 2. For each scene, note any changes. Include things like set changes, transition concerns, props coming on or off (and who uses each item), quick costume changes, and preparations that need to be made for upcoming scenes. For example, if you know that a makeup table needs to appear onstage in Scene 5 with a mirror and makeup items on it, you might want to note in Scene 3 that the table needs to be prepped at that time so it’s ready for Scene 5. 3. Make note of what happens before and after the show. Be sure to also make note of what needs to happen pre-show (floors swept and mopped, props pre-set, etc.), during intermission, and post-show (clean-up). 4. I usually identify students by their own names in the running list (such as “QUICK CHANGE – Grace and Ethan into golf outfits”) but you may want to identify them by character name. Use whatever works best for your show, but be consistent in your notes. 5. Leave room in the margins and spaces between each scene for backstage teams to add their own notes. They may find that something was missed or added, or they might discover a better way or time to do a certain task, so allowing them space to note these changes will only make for an easier backstage process! Include page numbers, as well, at the top of each page. Running lists can often be quite long, depending on how many notes you need to include, so including page numbers will help to keep everything in the correct order. It’ll also be easier to notice if a page has gone missing. Challenge your students to create a running list for their show. Forward thinking and attention to detail are musts for this exercise!

Cleaning up anybody else’s mess is no fun. Cleaning up a messy backstage after a show is especially disheartening – it takes away any good feelings that were cultivated during a good performance, and creates resentment between the actors, the crew, and the teachers in charge. With teamwork and some carefully laid-out ground rules, though, messes can be reduced and everyone can go home quickly! Read on for three ideas about how to deal with theatrical messes. 1. What are the general backstage policies?Establish these early and make sure the cast and crew know what they are. Make handouts and distribute them to the cast and crew. Post the policies where they can be easily seen by everyone. You may even want to make up a contract that each student signs to indicate that they are aware of the backstage policies. Here are some points to think about: • Are students permitted to bring personal items (such as cell phones, bags, etc.) backstage? If so, where will the items be kept? • Does each student have their own assigned space in the dressing area, or is it a free-for-all? • Where are costumes stored when not in use? • Is there a place to store boots and coats during inclement weather? • Are food and drinks permitted backstage? Are there adequate garbage cans and recycling bins available? Who empties those when they become full? • Is there an established Lost and Found area or bin? What happens when the bin becomes full? • Items of a personal nature (such as solitary socks) I tend to just throw out. Nobody is going to claim them. 2. What are the rules regarding costumes?Costumes tend to be misplaced and damaged more often than other items, simply because it is so easy to toss a costume over a chair or drop it on the floor. Oftentimes students aren’t aware of how to properly care for their own clothes, let alone a costume. Discuss with your students how to properly care for and store their costumes – it will make your costumes team’s lives a whole lot easier. • The first rule of costume care is that costume team members are not servants or maids – they are not there to pick up after actors who leave their stuff everywhere. • If necessary, spend time with your students to teach them the correct way to hang and/or fold and store their costume pieces. • My rule is this: If I find a costume piece randomly on the floor (doesn’t matter how it got there, whether it was carelessness on the owner him/herself or if someone else knocked it on the floor), I take it away and put it in “ costume jail.” The owner then has to come and find me to get it back, and explain why the item wasn’t put away correctly. • I’ve also used consequences, such as: • Having to pay a fine (usually 25 cents per item) to buy it back • Having to do push-ups or sit-ups to earn the item back • Completing another task, such as singing a song in front of the rest of the cast and crew, to earn the item back • You will know your students best – use your best judgment when assigning a consequence for a left-behind item 3. What are the rules regarding props?Props can easily be misplaced between shows. Sometimes they mysteriously vanish. To avoid this, assign a props head or assistant stage manager to oversee the proper care and storage of props. • Are props kept out on a shelf or table in between shows, or are they put away after each show? If they are put away, is there a specific plan for the storage? • If items are put away between shows, large bins (with lids) are very useful. Attach a list to each bin-lid of what belongs in that bin. • Props that are left behind or not put away in their proper spots could be treated the same way as costumes and put in “props jail.” • But consider, tt may be more difficult to determine who missed the prop – is it the responsibility of the props head, the assistant stage manager, or the actor who uses said prop to return it? • At the end of the run of the show, remind students that all prop items must be returned to the props storage area. Students frequently ask to keep a prop as a souvenir of the show, failing to remember that props may have been borrowed or loaned, or will be used again for a future show. Unless the teacher specifically states that a particular student may take a particular prop home, all props need to be returned and accounted for! (This goes for costume items too!)

It takes a community to create a great production, and theatrical performances would not exist without the time, skills, and talents of dedicated crew members. From costumes and props to sound and lights to front of house and stage management (and everything in between), crew members are the heart and soul of a production. Their creativity, passion, and hard work are invaluable to every show. So where do we find these amazing people, and how can we get them on our team? Let’s brainstorm! Where can you find potential crew members?• Your drama classes! (Make it a requirement that students must volunteer a certain number of hours doing crew work in order to pass.) • Other classes at your school, such as: • Communication technology classes (like recording) for sound designers and operators • Design technology, manufacturing, and carpentry classes for set pieces, props, and furniture • Art, photography, and graphic design classes for designing and painting sets, as well as creating programs and publicity images for social media • Esthetics classes for hair, wigs, and makeup • Fashion and sewing classes for costumes • Business and marketing classes for production and box office duties • Co-op students can take on a variety of roles depending on their area of focus • Talk with fellow teachers to see if projects could be done for class work or extra credit • Siblings, parents, and other family members of the students currently involved in the show • Friends from other schools of the students currently involved in the show (perhaps you can sign off on volunteer hours for them?) • People involved in community theatre in your city • Students from nearby colleges/universities/professional schools looking to gain practical experience ( For example: For a production I worked on that was set in the 1950’s, we had students from a local hairstyling school create time-appropriate hairstyles for the students in the show and teach the students how to do them on their own.) How can you recruit crew members?• First and foremost: Ask! Get out there and ask people to help out. Speak to students in person during class and on breaks. Send an e-blast in your school’s newsletter. Post on your school’s social media accounts. Post flyers on your school’s bulletin boards. • Get students to help recruit crew members. They are your best resource for meeting more great students. Use the recruitment reflection exercise below to get students involved in this process! • Offer extra credit, letters of support/letters of reference, or sign off on volunteer hours to students who work on productions. • Reach out and make connections with drama teachers at other schools and members of community theatre groups. • During auditions, include a crew recruitment note in your audition information sheet to see if students are interested in crew roles. (Make sure not to make students feel like being in the crew is a consolation prize if they are not cast in the show. Emphasize the importance of the crew roles and how essential they are to making the show happen!) • Check your personnel files and reach out to students who have worked on past shows. • Does your city have an online theatre network? If so, create recruitment posts. For example, in London, Ontario, there is a Facebook group called “London Downtown Theatre Online” and a website called “Theatre in London,” both of which are fantastic for advertising local shows as well as recruiting potential volunteers. If there isn’t a similar network in your city, then create one! • Get student actors in your show to assist with crew tasks. Actors can help in a multitude of areas: helping with creating/finding costumes and/or props, scenic painting, and publicity for starters. There’s nothing wrong with student actors taking on double duty. • If students can’t commit to coming to rehearsals but still want to be involved in the production, give them tasks that they could work on at home or during spare periods at school. For example, a student interested in costumes may not be able to help with dressing actors during the entire run of the show, but perhaps they could do a smaller project such as sewing one costume at home, helping with costume laundry, or hot-gluing gemstones on a crown. Or, a student who is interested in marketing could create and pre-schedule a series of Facebook and Twitter posts to advertise the show. Think creatively and delegate jobs to as many students as you can.