Stage Management

Blocking is fundamental to acting. Whether staging a two-person scene or 30-person musical number, how you arrange the actors onstage is an important part of the storytelling. Unfortunately, students don’t always have the attention span to take a deep dive into staging theories. So what do you do when you want to teach blocking but you don’t want to bore your students with abstract concepts? Stick to the basics and get your students on their feet. That way, they can actively demonstrate the principles of blocking. Here are three fundamental blocking concepts you can include in your curriculum, each with an exercise or activity you can do with your students so they can visualize the concepts. LevelsLevels are a great way to break up the stage plane and add interest to a scene. Even a six-inch step or platform is enough to create a new performing area onstage. More importantly, changing the level of an actor will alter both their status and the audience's focus in the scene (both of which we will also cover in this post). Adding different levels to the performing space gives directors a whole new toolbox of options when it comes to blocking. Levels Exercise Place the following objects on the stage: an acting block, a chair, and a small step. Pick four students to get on the stage and interact with the objects to form a tableau. Three students will each use one of the objects as part of their pose, and the fourth student will strike a pose using only the stage floor. Have the rest of the class comment on how the use of different levels transforms the picture of the characters onstage. How do levels change your perception of a character? Have the four students switch objects, strike a new pose, and repeat the discussion. Do this until each student has had the opportunity to interact with each object. FocusFocus tells the audience where to look. A director uses focus as a part of their blocking strategy to draw the audience's attention towards important action or information. A director can draw focus through movement, lighting, or character placement onstage. For example, upstage center is the strongest position onstage and naturally demands focus. Unfortunately, actors can “steal” focus by wandering, fidgeting, and participating in other unfocused actions. When an actor steals focus, the audience becomes confused and distracted, and the impact of a scene is ruined. When all performers work together to maintain the focus of a scene, audience attention is aimed where it is supposed to be, and the blocking has the intended effect. Stealing Focus Exercise Having access to the same three blocking objects (acting block, chair, step), have one student go onstage and strike a pose that they believe will get, and hold, the audience’s attention. The first student will pose and stay frozen in their pose. Then ask another student to go onstage and “steal” the focus from the first student by creating their own pose. The new student can also use the objects, but may not continuously move around the stage or physically touch the first student. When the second student has struck their pose, ask the class if that student was successful in stealing focus. Then ask for a third student to steal from the first two (still frozen), and ask the class the same question. Ask the class to explain why they believe focus was stolen or not. Continue the exercise until there are 10 students onstage. StatusBlocking can help denote the status of a character. If you want a character to demonstrate their social status, where they stand can be as important as how they stand. The placement of a character onstage can elevate them both physically and socially, and conversely, reducing a character’s status can be demonstrated by their physical disposition on the stage. Directors who understand the connection between blocking and status can powerfully illustrate a character’s status by thoughtfully crafting their blocking. High Status/Low Status Exercise With the same three blocking objects onstage (block, chair, step), choose 10 students to step onstage and strike the most powerful pose they can. Their pose should demonstrate authority, power, and confidence. Ask the rest of the class to vote for which students created the highest status with their pose. Keep the top three vote getters onstage and send the remaining seven back into the audience. Have the class vote again, and keep the “winner” onstage in their pose. Have a discussion with the class about WHY they believe this person demonstrated the highest status. Next, choose 10 students to go onstage and strike a pose that demonstrates the LOWEST status possible. These poses should exhibit weakness, confusion, and/or hopelessness. Repeat the class voting process until a “winner” is chosen, and discuss why the winner created a believable low-status pose.

A house manager speech is a short spiel presented prior to a theatrical performance, where the audience is welcomed and given some last minute information about the show and/or some basic theatre etiquette reminders, such as the duration of the show, where the restrooms are, and most importantly, to turn off your cell phones. It is fairly typical for the speech to be given by the director — as in, you! — or a member of the front of house team (the house manager or an usher). What information should be shared in the house manager’s speech? Here are the most common speaking points: • A brief welcome and thank you for attending the production. • “Welcome, and thank you for attending Central Secondary School’s production of Football Romeo by Lindsay Price.” • The length of the play and whether there is an intermission. • “The show is 2 hours long with one 15-minute intermission” or “The show runs 75 minutes and is performed without an intermission.” • Whether or not food or drinks may be consumed during the performance (and oftentimes reminders to unwrap candies or cough drops now). • Whether or not photography or video recording is permitted during the performance. If it is allowed, it is best practice to turn camera flashes off to avoid startling or blinding the students onstage. • A reminder to turn off cell phones and any other electronic devices. • Any safety reminders or directions, such as how to leave the theatre, or if there will be special effects (such as a strobe/flashing light or loud, startling sounds) that may affect the audience’s experience. • “If you need to leave the theatre, please use the exits in the rear of the auditorium. An usher will escort you back to your seat at an appropriate time in the performance.” “This production features gunshot sounds and strobe lights which may affect some audience members.” • Any content/trigger warnings — violence/stage combat, strong language, sensitive subject matter, etc. Adjust as necessary for your school’s community and intended audience. Please note that the duration of the show, safety reminders, and content/trigger warnings should also be communicated many times before the patrons arrive at the show, and in many different ways, such as on the show and ticketing websites, in social media posts, on signage outside the theatre, and reiterated by ushers as they take tickets, hand out programs, and/or direct audience members to their seats. Audience members should be aware of the show they’re going into before they arrive at the performance, so they can make an educated decision on whether they wish to attend. The best house manager speeches are brief, concise, and attention getting; the information is conveyed in a way that makes audience members follow the instructions, and then the show starts promptly. Sometimes though, the director gets a little emotional and starts waxing poetic about the process and hard work that has gone into the show, the speech gets longer and more drawn out, and the audience is left waiting impatiently for the performance to start. So to avoid holding your audiences hostage, read on for some helpful tips to improve your house manager speeches. First, do you need a house manager speech at all? Some plays or musicals, such as The SpongeBob Musical, have pre-show patter written into the show. If you’re giving an additional house manager speech on top of that, you’re just wasting time. Can the information be conveyed in another way? For example, could you post signage outside of the theatre, write a blurb in the show program, or have ushers verbally share the information with patrons as they’re taking tickets or directing people to their seats? If you still feel you need a speech, please keep it succinct. The plot of the show, the inspiration behind why you chose it, anecdotes about the rehearsal process, and special thanks can be shared in a director’s note in the program, on your school’s website or social media pages, or posted on signs around the theatre. We have to keep our egos in check and remember that when it comes down to it, the audience is there to see the students perform, not to hear us talk. Share only the most important information that absolutely needs to be conveyed. When possible, have students present the speech. You could have a student house manager or usher present the speech as part of their front of house duties. Or, you could have a member of the acting ensemble present the house manager speech. It’s great if you can pick a student with a smaller role or who has fewer lines in the show, as it gives them more to do. You could also split up the speech and have two or more students present it as a pair or trio, such as a small group of graduating seniors. Decide whether the speech will be presented live or pre-recorded. If the speech is presented live, you’ll need to add a lighting cue for the presenter and may require an additional microphone; if the speech will be pre-recorded, you’ll need to arrange time to record the speech and add it to your sound cue list. Finally, decide whether the speech will be standard/traditional or themed/in-character. There’s nothing wrong with a clear, straightforward speech with simple instructions. It’s easy to understand and does the job. But it can also be a lot of fun to have the speech presented in-character or in the theme or style of the show. Think Shreds and Patches in Shakespearean verse (or even iambic pentameter), or Rebootilization introduced by the SynCryn technicians. Themed house manager speeches grab audience members’ attention and get them into the theatrical mindset right away. Plus, they’re fun! No matter how you choose to present your house manager speech, just remember to keep it short, informative, and attention-grabbing — and then get on with the show!

We all know the value of a great stage manager, and it’s important to give students the opportunity to take on this vital role. However, if your student stage manager has never done the job before, they might be nervous or unsure of themselves, or they might not know what to do. know what to do. The following tips will come in handy when you’re training your student stage managers, and will help ease your students’ worries. 1. Stage managers conduct themselves as leaders.The stage manager is a key part of the artistic team. They have many responsibilities (here are just some of the things a stage manager does) and they work side by side with teachers. They must act in a mature, trustworthy, and dependable manner, while not going overboard or bossing others around. This may be some students’ first foray into the world of leadership, which can be intimidating. It’s hard to balance leadership and friendship. Even if your student stage manager has never been in a leadership position before, the ideal student for this role will possess qualities that will help them succeed, which they will develop while completing their tasks. 2. Stage managers must be prepared for (just about) anything.At the minimum, stage managers should always have in their possession the show’s prompt book (here is how you prepare a stage manager’s prompt book), extra paper, post-it notes, at least two different coloured highlighters, and lots of pencils. If the show is a musical, they should have access to rehearsal music tracks, if the show has them. Many stage managers have a full-on emergency kit that includes items like batteries, a flashlight, clear nail polish, a stopwatch, and safety pins. It may not be necessary for your student stage manager to possess an entire kit, but they should know where to find these items in your rehearsal and performance spaces. They should also know what to do if an emergency arises, such as locating a first aid kit. On that note… 3. Stage managers are the people “in the know.”Stage managers are the ones who keep rehearsals running smoothly and on time. They record blocking, keep track of attendance, convey messages to and from the cast and crew, and know who is supposed to be where, at what time, and for how long. Encourage your stage managers to take lots of notes (both rehearsal blocking notes and important information such as plans for upcoming rehearsals). Keep them in the loop by copying them on emails and having them attend artistic staff meetings. Encourage your other students to go to the stage manager with questions first, before going straight to you. This will empower your stage manager while freeing you up to do other things that only you can do. 4. It’s okay for the stage manager to ask for help.Yes, the student stage manager has many responsibilities, but they are still students. They’re still learning. So while they are expected to be responsible and act as leaders, they will still need guidance and support. Having at least one great assistant stage manager will take some pressure off the stage manager. Always be available to answer questions when your student stage manager asks – and keep an eye out to give help if they don’t ask. Know when to let your student figure things out themselves and when to step in and assist. Remind your student stage manager that they are part of the team, and team members support each other.

One of the stage manager’s most important tasks is to create and maintain the prompt book – sometimes known as the “show bible” – which is a master copy of the script and contains everything pertaining to the show. The prompt book contains blocking notes, any changes that have been made, and all technical cues, in a neat and easy-to-read style. The prompt book is kept in such a manner that in the case of an emergency anyone could pick up the book and run the show. Stage managers also use this master script it contains to prompt actors if they forget lines during rehearsal. In a high school setting, the stage manager role is frequently taken on by an organized, hard-working senior student and is a vital part of the artistic team. A prompt book isn’t just a random extra copy of the script though. The prompt book must be prepared in advance of the first rehearsal, so the stage manager is ready to go right away. But fear not – making a prompt script is easy. It just takes a little bit of time! Follow these steps and your stage manager will be ready to go in no time. A note before starting: Remember that every stage manager is different, and may have a different way of preparing and organizing their prompt book. The method below is how I was taught and have prepared prompt books in the past, but other stage managers may have different methods. However, I believe that as long as the stage manager can run their show effectively using it, then they have done their job! Materials Needed:• A copy of the script • A large three-ring binder • A three-hole punch • Post-it tabs • Binder divider sheets • Pencils Steps:• Make a single-sided copy of the script. Depending on the size of the pages, you may want to enlarge the text so it fills the full page to make it easier to read. However, some stage managers prefer to leave wide margins around the script so they can make additional notes. Make sure that the page number is included in your copy and that it is the same as on the actors’ copies of the script. • Hole-punch the pages and put them into a large three-ring binder. Most stage managers will actually hole-punch the pages on the “wrong” side (down the right side of the page) so that they have the script on the left side of the binder and a blank page for making notes on the right side. Left-handed stage managers tend to prefer the opposite layout as it’s easier for them to write that way. The blank pages can then be used to write blocking notes, write down cues, or even make ground plan drawings (a bird’s eye view of the stage and set) to indicate actor positions and movements, entrances/exits, and where set pieces go. • Using post-it tabs, mark each scene along the margin of the correct page and write the act and scene number on the tab. This way, the stage manager can flip to the correct act and scene quickly, without having to turn pages upon pages to get there. Some great stage managers I’ve seen go a step further when they’re working on musicals, using one colour of tabs down the long side of the page to indicate scenes, and a second colour of tabs along the top of the page to indicate songs. It makes their lives much easier! • For even more ease, many stage managers will go scene-by-scene and number each line. This way, when the stage manager wants to make a note (a technical cue, movement, etc.) on the opposite page, they can indicate what line the note is associated with, without having to write out the full line. Always make sure all notes are written in PENCIL because there will be changes! • Use divider sheets to make sections for the script, score (if the show is a musical), company information (such as contact lists, attendance lists, casting lists), copies of any handouts given during rehearsals, and any other sections needed. Exercise:• Following the directions above and using the included script pages in the download below, students create and submit their own miniature prompt book. • As an added challenge, have students include their own blocking notes to their prompt script. • Students will also complete and submit a Reflection with their prompt book.

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

The role of the stage manager is a vital one in the theatrical process. Stage managers truly make the show happen. Without a great stage manager, rehearsals go awry, cues don’t happen, and the show grinds to a halt. Good stage managers are hard to find, but those students are out there. If you’re looking for your next stage manager, look for students with the following five qualities: OrganizedFirst and foremost, a stage manager must be organized. They need to know what is being rehearsed and when, who is needed at each rehearsal, and how much time is left in rehearsal. Artistic staff members get super-busy and it is easy for them to lose track of time. The stage manager is essential for keeping everyone on track and on time. Stage managers are also generally in charge of ensuring that the necessary rehearsal materials are available when they’re needed, such as CD players/MP3 docks, extra pencils, or first aid supplies. ConfidentWhen providing missed lines, assigning pre-show tasks, or calling the actual show from the booth, stage managers must have confidence in themselves and their teams to make sure the show goes on. Stage managers are leaders. They need to have confidence to solve problems on the fly and know what to do in an emergency. Student stage managers must also have the confidence in themselves to know when to ask for help – and then to actually do it, rather than just struggling on their own. There is no shame in asking for help. How else will students learn? AssertivePart of a stage manager’s job is to assist with administrative tasks such as keeping actors and artistic staff on task, taking attendance, and calling absent cast and crew members to find out where they are. These tasks can be uncomfortable, especially if a student stage manager is calling one of their peers or a parent to ask why the cast member isn’t there, or telling a teacher that they have gone over time and need to move on to the next task. This doesn’t mean being rude or bossy – being able to communicate clearly and in an assertive manner ensures that rehearsals run smoothly. Remember that being confident and being assertive is not the same thing! A student can believe in themselves and their abilities/knowledge, but have trouble being able to express that towards others. A student can be confident without being assertive, but cannot be assertive without having confidence. Being assertive takes practice, and being a stage manager definitely helps to grow that skill! Good listener and observerA huge part of the stage manager’s role is to take detailed blocking and technical notes during rehearsals. They must watch and listen carefully to the director, musical director, choreographer, fight director, and so on, and record everything (in pencil, because there WILL be changes!) in the stage manager’s prompt book – entrances, exits, placements of set pieces, props and people, cues for lights, sound effects, music, and more. That way, when the scene is re-visited (and the actors and director inevitably forget what was originally blocked), the stage manager can make corrections. TactfulWe’ve established that a stage manager needs to be organized, confident, assertive, and a good listener and observer. On top of all of that, they need to be tactful – knowing how to behave and respond in delicate or difficult situations. It’s a balancing act for sure. When things get stressful and tasks need to be done, it is definitely easier to use sarcasm and sass when speaking to others, particularly when students are in a leadership role – they may think that this demonstrates their authority. But speaking with kindness and positivity while also being firm and honest is important. In order to receive respect, students must first demonstrate respect towards others. And speaking to their peers and teachers in a tactful and thoughtful manner is one way of doing that. When it comes down to it, students need to treat others the way they’d like to be treated. And a great stage manager does this at all times.

“The show must go on” is a common phrase in the theatre world, and a stage manager is one of the crucial people who ensures that the show does go on. The stage manager works side by side with the director and artistic team to ensure that rehearsals and performances run smoothly. Often, this role is assigned to a senior student as this is a great way to learn and develop leadership skills. But what does a stage manager do, anyway? Let’s take a look at some common duties and responsibilities of the stage manager. Assist with administrative and preparatory tasksThe stage manager must be an organized soul, as they are in charge of keeping track of lots of important administrative information. They maintain a company roster (a contact information list for all cast and crew members) as well as keeping track of attendance and calling cast and crew members when they are late for or missing from rehearsals. Stage managers keep track of any pre-scheduled conflicts and assist with creating schedules as they will know what has been rehearsed already, what needs to still be rehearsed, and who will be at each rehearsal. The stage manager is frequently the first one to arrive at rehearsals and among the last to leave. They help to set up the room at the beginning of rehearsals and help to tidy up at the end. CommunicationStage managers are the communications centre for productions. They will often give announcements at the beginning of rehearsals, pass along messages to and from the cast and crew, and email rehearsal schedules. The stage manager is the person who everyone can go to when they need answers to questions or help solving problems. Take notes in rehearsalThe stage manager works closely with the director and artistic staff during rehearsals, recording all blocking, entrances, exits, changes, etc., so the director can focus on actually directing. The stage manager must observe and listen carefully to ensure that no detail is neglected. The stage manager is responsible for creating a master copy of the script – called the prompt book – that contains everything pertaining to the show. The prompt book is kept in such a manner that in the case of an emergency anyone could pick up the book and run the show. The prompt book contains blocking notes, any changes that have been made, and all technical cues, in a tidy and easy-to-read style. Stage managers also use this master script to prompt actors if they forget lines during rehearsal. Call the showDuring the actual performances of the show, the stage manager will be in the booth, on a headset, and “calling” the show. That means telling the various operators (lights, sound, microphones, spotlights, running crew, and assistant stage managers) when to make their various cues happen. It takes an immense amount of care and focus to make sure that every cue is called and executed with correct timing. This is particularly true when stage managers get few chances to practice calling the cues before the actual run of the show (often as few as three times – a cue-to-cue rehearsal, a technical run, and a dress rehearsal). How’s that for pressure? “Other duties as assigned”The stage manager is truly the unsung hero of any production. They are usually the go-to person for any additional tasks that need to be done. At the very least, they are responsible of delegating these tasks to others. A student who wishes to be a stage manager needs to be confident, mature, hard-working, and organized. So the next time you see your stage manager, be sure to let them know how much you appreciate them. They are the glue that holds the show together!

Do you use student stage managers? Introduce your students to a skillset that not only benefits your productions but will also strengthen their analytical thinking, organization, teamwork, and problem solving skills. Why student stage managers? You may think that’s a lot of responsibility to place on young people. But they’re definitely up for the challenge. You may have students who don’t necessarily want to be on the stage but long to be a part of the process and the community. Why are student stage managers important? • Student stage managers set the tone. • We create our environment with our attitudes, as well as how we interact with our fellow artists. Student stage managers can be very successful in creating that positive and efficient environment. We all know as teachers that our kids tend to listen to each other more than they do adults. So how great would it be to have a student who’s setting the tone for your rehearsal and performances? • Student stage managers are leaders. • Student stage managers can get kids to buy into the rehearsal and performance process more than any adult could. So, as a director, your student stage manager is your ally as well as your right hand. • Student stage managers are team players. • Within your stage management staff, there’s often a stage manager, an assistant stage manager, and production assistants. This is a great structure to work with when you’re training your student stage managers. Students can start as production assistants, move up to assistant stage managers, and end up as a seasoned stage manager. • During a show your stage manager calls the cues, assistant stage managers run the backstage, and production assistants help out during rehearsals and become part of the run crew for the show. Click below for a detailed setup for your stage management team. How do I know which of my students would make good stage managers? Take a moment and think about your current students. Which of them tend to be organized, communicate clearly, and would really enjoy being a part of the show? These students just might be your next stage management team: a group that will learn about leadership, organization, teamwork, and problem solving, with the added bonus of keeping your production running like a well-oiled machine!

The McCarter Theatre in New Jersey posted a video on their website of the Stage Management Team taping out the rehearsal hall for their production of A Christmas Carol. If you want to see what goes into the set up of a BIG production watch this video. It takes Stage Managment 5 to 6 hours to tape out the floor! The final visual of the tape is pretty amazing…