HOUSE MANAGEMENT Stage Manager and House Manager Confirm performances times and dates Start times Intermission

length Length of acts Curtain calls Opening night issues Latecomer policy Explain when doors can be opened due to action or lighting Emergency plans Fire alarm system Who informs the audience Special cues At top of show or intermission Action through the lobby or house Signs needed Gunshots, strobe lights, cigarettes, nudity, violence, foul language Pager, cellular phones, watches warnings Hearing assistance system How do guests get backstage after the show? Communication with FOH Function Works for the landlord (the house) Is official host - maitre d' Supervises all other FOH activities Checks and verifies the accuracy of each box office statement Audience safety, comfort SM must understand HM function and work with Communication Phone, intercom, headset, prearranged time HM gives show to SM Audience Should not be rushed Actors do not want moving audience to open Seating latecomers Duties 1. Supervise FOH personnel Assist HM, ticket takers, ushers, elevator operators, rest room Matron, coat check, concession attendants, security guards, Doorman, parking attendants 2. For payroll purposes verify workers hours 3. Arrange for a house physician to be on call 4. Coordinate ticket taking with box office and ticket taking systems 5. Supervise cleanliness and sanitary conditions of audience areas 6. Maintain safety and fire laws in audience and enforce house rules 7. Oversee special customer services (water fountains, rest rooms, concessions, pay phones, etc.) 8. Coordinate curtain times with SM through house warning bells and communication systems 9. Handle special customer problems regarding seating, disruptions and

emergencies 10. Check all audience areas before they are opened to the audience and after each performance Before performance Arrive 45 - 60 min. before curtain Obtain reservation lists Greets and seats audience, VIP's, reserved signs Reservation problems, wheelchairs Tour public areas with the "eyes of a customer" Meeting and greeting the audience sets the tone for the audience All staff should be well trained and polite - attitude, dress, behavior Directs audience to washrooms, phone Late arrivals - know when they can be seated Names and seats of doctors on call Hands out programs Watches for audience delay, weather, traffic, parking, may hold Necessary announcements Post VIP list on the callboard Rules of the house 1. Smoking, eating, drinking 2. Cameras 3. Tape recorders 4. Seating policy 5. Ticket refund and exchange policy 6. Standing room 7. Wheelchair accommodation 8. Lost and found articles 9. Emergency procedures 10. Audience services Seating the Audience The larger the audience the more control required Guidance is required from the street to the seat Public transportation and parking should be adequate for the numbers Settle questions in advance Comfortable places for people to wait? Latecomer policy? Open lobby when? Open auditorium when? Curtain up when? Traffic flow should be comfortable Some crowding helps create an "audience" feel - excitement Ambiance and decor are important Customers should never have to guess the direction to their seat Intermission length? How many intermissions Length of performance prior to Size of audience Availability of concessions, rest rooms Other - scene changes, union rates Train staff Give individual assignments - doors etc. Emergency procedures Never run or shout in audience areas

Never go through auditorium to backstage Performers always use stage door Always report strangers Backstage personnel should never be seen in audience areas In case of fire It is illegal to shout "fire" in a public place unless it is an emergency Temptation to add chairs, sit in aisles, cover exit lights Manager holds the customers safety in trust Post fire rules, inform staff - callboard Review procedures with ushers SM and HM are in charge If audience perceives a threat Let them know what is going on - announcement SM, HM, actor If real get audience out quickly Power failure Sudden darkness is a threat Emergency lighting must be working Illness of a performer It may be necessary to cancel the show if no understudy Check with the general manager Illness of an audience member Quite common Rely on emergency response units If possible remove the person to the lobby Any injury fill in an accident form - workers comp Contacting members of the audience Sometimes they are called to the phone Drunks threats etc. Hard to reason with them, approach with caution Remove as quickly as possible, use tact if you can Call authorities After the performance Questions etc. from departing audience Assists SM in securing theatre, sniff fire test Returns, reservation lists TOURING British Columbia Touring Council www.bctouring.org/facilities.html City of Vancouver Cultural Facilities www.city.vancouver.bc.ca Show closes Time to strike the set, costumes, props Union companies give 2 weeks notice Strike plan For efficient plan, write it out Union crew - actors do not strike out Could be a night call Plan tools and transportation Cast often enjoys striking Be free to observe and supervise - delegate Changeover schedule Combination of strike and setup and rehearsal Check schedules with everyone Be prepared to make on the spot decisions Moving the show Coordinate all staff, cast crews and equipment Itinerary

First thing needed Who, what, when, where Touring agreement With cast and crew Make sure they all know in advance what is expected Hard on personalities and health Call list For shows and for travel Touring and local custom advice sheet Build sets to tour Loose pin hinges Sizes that fit in transport Must fit in new theatres - adjustable? Must fit in loading access Simplify the show in every way Technical check list Touring lx rigs Pre-mounted and focused Adequate power, cables, transformers etc. On arrival Inspect everything, assign dressing rooms Supervise setups, greet new crew, check hotels etc. Transportation Hotels and airlines overbook Advance Get all advance information End of the tour wrap up everything as usual Theatre Information Material Physical dimensions of stage and support areas Scaled stage diagrams Loading dock information, inside and outside Scaled drawing of rest of the theatre Stage equipment lists Accessory services available Availability of stage crew and help Availability of wardrobe crews Rehearsal space available Customary curtain hours News and media contacts Transportation facilities Hotel and restaurant services Front of house information Contact sheet Advance Check List Planning a Tour Meet with theatre staff, management, publicity, technical personnel etc. Collect as much information about the theatre as possible Tour the stage, dressing rooms, rehearsal rooms, orchestra pit, cafeteria, loading dock Gather information on working conditions, work hours, breaks, crew sizes per shift etc. Familiarize with the streets around the theatre check trucking access to loading dock Walk, if possible, from theatre to hotel to record directions for performers' info package Check out restaurants in the vicinity of the theatre and hotels for prices and closing hours (dancers eat their main meal after the performance) Collect menus from these restaurants to be used in Union negotiations for per diem Check out hotels which would be used during the tour and look at those rooms which we would actually be getting during our stay, and not just the "Presidential Suite" which hotels like to show Doing an advance is not a holiday. Touring to smaller centers with a large company Can you get the whole company on the plane? Can you get the cargo on? Union contracts Require buses to move the company Equity rule - 1/2 mile max Can you find a restaurant open after the show to feed the company as required? Going Through Customs Rapid customs clearance is essential The customs list Used by Customs officials for clearing your material Transportation company

The presenter who will receive it Start with the packing crates Assign a number to each container The total number of pieces must be known List must contain the following Number of each container Description of physical appearance List of contents Width Height Depth Cubic volume Weight Value - be reasonable Paint on the outside your company name This side up, fragile etc. Attach a label showing destination, take off old labels Most countries use metric Use the language that makes the most sense Draft your customs list 3 months in advance Send to the presenter - they may be able to help Airlines do not charge by weight alone Check size of cargo door Be sure containers are very strong Waterproof Company rep should witness each inspection Take the keys Be sure that only the right items are in the right boxes A.T.A. Carnet www.chamber.ca/newpages/carnet.html A carnet, or "merchandise passport" is an international customs document that demonstrates to foreign customs officials that you have fully declared all the goods you have with you to authorities in Canada before you left home and that you make a security deposit based on the value of the goods which will only be returned to you when you return to Canada. Canada and 40 countries have signed agreement to ease passage of goods Apply at the Carnet division of the Canadian Chamber of Commerce Deposit of 40% required Check with the country to be visited to be sure it is accepted A Carnet is a series of vouchers one for each entry and exit to each country Request 2 transit sheets for countries through which the goods go border to border without being used At border be sure that official removes first voucher and signs and stamps Carnet. The Carnet is a merchandise passport and must be well protected Carnet Canada A division of the Canadian Chamber of Commerce (514) 866-4334 1080 Beaver Hall Hill Suite 1630 Montreal, Quebec H2Z 1T2 Touring in the United States Making application Start the process - filling out forms - 2 -3 months in advance Application will be seen by US Dept. of Justice, Immigration and Naturalization Service US Department of Labor US Internal Revenue Service - apply for exemption from withholding taxes Union jurisdiction over performing facilities - check this "Crossing the Border" published by the Maine State Commission on the Arts The Touring Office of the Canada Council, P.O. box 1047 Ottawa, Ontario, K1P 5V8 (613) 238-7413 LOCAL TOURING TYA Get to know theatre staff Know theatre liaison Schedule Equity guidelines Performers have families and need to know Obtain Provincial hotel guide Phone card for long distance Gas credit card Petty cash

BCAA membership Rental car locations Road maps School or theatre locations Vehicle Class 4 license is required for over 7 passengers Who owns the vehicle and maintains it? Tool kit Fire extinguisher Current insurance Spare tire and jack Test drive Tune up Check fluids / tires Extra keys Jumper cables First aid kit Locks work Seat belts work Winter driving equipment Show label for windshield Loading Have the cast practice loading and unloading the set Tape loading plan on inside of back door Show preparation Duplicate costumes if extra wear or wet use Get to know sound equipment Teach the cast how to take apart the set Assign one person props /costumes Job for everyone for setup and strike Director Prepare cast for question and answer period Suggest possible cuts if time is short Travel Good map reader beside the driver Check maps the day before Sleeping habits for early calls Assign an alternate driver CTA 49:20 (F)(iii) All companies touring under the provisions of this clause will have two drivers(2) designated drivers per vehicle 49:20 (F)(v) No driver may drive more than three (3) consecutive hours per day, excluding rest stops and meal breaks. Food What do people like to eat? Harassment issues No performer can hug or touch a child. Safety Rehearse fire drills, meet at the van. Hotels Book 2 weeks in advance Have reservation numbers Phone if late checking in Look for basic features MOVING INTO THE THEATRE Pressure mounts as the tech week approaches Be calm, Be organized for the move Update lists and schedules Plots, Comp list Program information (34:01 credits and photographs) Lobby photos (34:06 lobby photos) (44:05 Billing Stage Management) Run throughs scheduled Paper tech schedule Photo call list (46:11 (F) Photo Calls) Cast is aware of schedule and location Discuss plans with the ASM s and management Prepare the spaces Tour the stage and shops Dressing rooms (24:09 Permanent Dressing Rooms) Quick change booth SM office Check air and temperature (24:03 Temperature) Set up backstage area Safe for moving in the dark (24:05 Blackouts) Set up callboard Sign in sheet ASM position set up Cue lights setup Valuables lockup (46:11 (Q) Security) Warm up space available Set up onstage area When is floor being painted? Set spike marks

Check set is safe Access to spaces keys Rehearsal room clean Prepare prompt book Equipment: Headsets, Supplies, FOH Worktables, Piano tuned Safety issues Headset etiquette Some SM s prefer no chatting Assign channels Test each night If going off headset let others know Turn off microphone if talking to someone not on the system Acknowledge receiving instructions Do not say anything that you do not want to be overheard backstage Do not chew gum of eat food while on the system Use a friendly calm voice, but continue to be in charge Be firm about silence after stand-bys Respond when cue is complete Working from the Production Desk Communication tools: Headsets, paging system, voice of God, ASM s Getting started Director is ready ASM s and crew stand by Actors stand by Actors, Please start when you are ready Call cue sequence When sequence is complete Stop action Thank actors and ask them to wait Discuss sequence with the director, designers and operators Pass on any new information Retry or move on Keep everyone aware of what is happening and how long they will wait Let them know what is next Keep ASM s informed and ready Call breaks when required DEPARTMENT MANAGEMENT To supervise others Be knowledgeable Understand personal relationships Exert control (guidance)over their work Recommendations for supervision Give instructions with clarity Don t give more that they can handle Follow up on the work you assign You still have the responsibility Supervision of department heads Are they working? Are they on schedule? Any problems Properties management Props people must be methodical and persistent Props needed for rehearsal Actors set down scripts then pick up props Properties persons checklist Controlling the loan of props Program credit Complimentary tickets Be sure that all props are returned properly Firing blanks Lighting Know where the breaker panels are Have spare lamps Before house opens Check all lights Blackout check Prepare light plot for board operator

Establish count for fades Re-gelling schedule Area lighting diagrams Shifts Shift plot chart Post copy for the crew backstage List scenes, cues, crew member responsible Make it big Show all action, items and personnel SM should know, handle and check all scenery Load in (take in) Crew briefing: Introduce General problems Explain stage areas Review safety rules Review dress requirements Shift inspection SM or ASM or Stage Carpenter Inspector only inspects Scene shift diagrams Upkeep of the scenery Dressing rooms assign Names on the doors Let wardrobe, props, HM, office know Consult with wardrobe Post list on callboard Cast should be comfortable Check actor contracts for riders Office for SM s CUEING Cue sheets Cueing script Prepare as much cueing script as possible before tech Light cues Be familiar with the light plot Meet with light designer Is a walker needed for focus/cueing sessions? Label cues LX or LQ #3, (LX #3.1,LX #4) Coordinate opening cues with house lights Are follow spots needed Sound cues Meet with the sound designer Keep house quiet during level setting Cueing methods Cue lights Verbal cues Calling cues Warn LX cue 15 at least 30 seconds before Stand-by LX 15 1 or 2 lines LX 15 .go 1 beat before cue Visual cues Hand up stand-by Hand down go Flashlight signal Action cues the next action Watching on a video monitor Physical cues Touching a performer on the shoulder to go Prompt book upkeep Actor warnings Entrance cues Scene shift Add written warnings for all cues Write everything is pencil First page should list where everyone should be at the start List full opening sequences Paper tech Get together with all designers and director Technical rehearsal schedule Discuss schedule in the production meeting with everyone

Extra rehearsals required? Fights Flying Scene shifts Quick changes How and where for warm ups (20:01 Classes /Warm ups) Start by presenting a proposed schedule Be sure everyone is comfortable Send everyone the final schedule Schedule for actor and crew notes When will you meet with the director for notes Hard to coordinate all union contracts Actors Stage hands Read the agreements Breaks do not have to be at the same time Technical Rehearsals Everything comes together, coordinate integration Hardest part is getting it started Director may want to speak Try to introduce people Explain to the crew what is expected and what effect is required Cast may be impatient Every mechanical effect should be run Good communication is required SM should: Anticipate Sets the tone and pace Introduce the director, cast and crew Safety talk Explain fire safety plan (24:04 Fire Drill) Location of first aid equipment Location of fire extinguishers How to deal with valuables Meet the house manager SM needs To be able to view the stage Communication systems Headsets PA system Video monitor Cue lights Telephone access Inform cast and crew of what is expected Have a clearly marked script Adequate light Arrive early Sign-in sheets Start on dress rehearsal Make it easy to read, no mistakes, large brown paper on the wall Calls Pre-show calls: Half hour House opening 15 minute 10 minutes 5 minute 2 minutes Places please Start show Intermission calls 5 minutes Dry Tech tech run with no actors full crew to run sequences and understand them Cue to Cue If running out of time skip to the next cue Do not usually need full costumes and makeup Keep it moving Keep a close watch on safety issues Rehearse black out entrances and exits Tech Dress All technical and design elements are included Run as much like a show night as possible Curtain call rehearsal separate one required? How will any extra bows be called? Dress Rehearsal Try not to stop while running Often has photo shoots for publicity Schedule meal breaks Treat like a performance Time scenes and acts Note problems May have an invited audience

Previews and Opening Night Track changes during preview Everyone will be nervous Give cast a copy of the program Everyone know about opening night activities Inform cast of VIP s Check with director about future rehearsals 20:05 Rehearsal on a Performance Day 20:06 After Opening 20:07 Understudy and Replacement Rehearsals 18:08 Emergency Rehearsals 18:43 Emergency Rehearsal 20:09 Rehearsals on Tour After First Public Performance 20:10 Note Meet with director to discuss the run Give your gifts or cards to crew, cast and management The Run The needs of every cast will be different Maintain the integrity of the show Copy prompt book Notes to actors Maintain the set, costumes and props Show reports for every performance - 46:11 (k) Show Reports These are confidential Run understudy or replacement rehearsals 37:01 Notice of Replacements 18:05 Understudy 37:00 Understudies Changes in Cast 16:11 Additional Duties 20:07 Understudy and Replacement Rehearsals 31:10 As Cast Follow your check lists Final Performance Inform cast and crew about any party of events Be sure all props costumes etc. are returned Strike the set if appropriate Prepare to tour? Hand in Prompt script (46:11 Prompt Book) Petty cash and receipts Keys Return photos and bios from publicity to artists Check lists Pre-show Intermission Post-show Should be in prompt book or cueing book Check them off when done Walking the curtain After the curtain drops have someone walk behind it to be sure it is down properly Access to the control booth and backstage Only authorized personnel ASM duties Keep them informed about everything Discuss backstage problems Collect valuables Have proper breaks Crew issues Safety issues Audience Creates extra pressure Preview Lower ticket prices Audience reactions may change some timing Actors may change their pace as well New show may under go major changes Opening night Show should be a routine by now Deliver flowers Post telegrams and cards THE CALLBOARD Backstage bulletin board for cast, crew and staff Locate in a prime spot Basic items Cast list Phone numbers Schedules Sign in sheet Closing notice Company rules Equity info Local info VIP list Messages Reviews Duty roster Invitations, ads, telegrams THE REHEARSAL SPACE Sample Check List

Obtain Map to location Plans of the rooms Keys or access card Floor plan of the set Check in advance Parking Noise issues Room access issues Room measurements including height Larger than the set? Lighting Electrical outlets Floor surface Windows / air conditioning / heating control Entrance Equipment Piano Mats Mirrors Rehearsal furniture Tables for the director and stage manager, props Signs Sound system Buzzer box Coffee equipment Recycling Other rooms available Lobby area Washrooms Food area Changing rooms Storage, lockup area Office area Other rooms for warm ups, running lines etc FIRST REHEARSAL Setting up Keep the main access door to the side of the director Check with the director Ground (floor) plan Get your own copy Have your own scale rule Study the plans and check for: Actual dimensions Offstage space Furniture size and location Different stage levels Location and path of moving pieces Location, size of carpets Location of light switches Location of act curtain for curtain call Marking the floor Tools 3 50 tape measures, 1- 25 tape measure Chalk line String for circles Cloth backed tape Knee pads White chalk Scale rule Copy of the plans Felt pens Carpentry square 2 assistants Tape out Floor plan Platform heights Stair heights Entrances and exits Direction of opening doors and windows Furniture positions Indicate downstage centre Direction that traps open Practical lights and switches Mark Where every wall changes direction Doors and windows Upstage legs of furniture 4 corners of rugs and platforms Full staircase Traps or any opening Side masking Mark flying drops at one side Mark centre stage at D/S edge Large musical may want each foot marked and numbered Actors information package Hand out at the first rehearsal All information you can pass on to them Cast list Contact list Schedules Forms to be filled out Employment forms

Equity forms Basic information sheet Wallet sized phone number card Equity office Notify one week before rehearsal Deputy election On first rehearsal Secret ballot in a large cast show Elect a cast member who will represent cast in union business Equity office may want to come for election Send in signed paperwork First rehearsal schedule Check Director Tables and chairs set up Agenda approved Who reads stage directions Supplies available Be early Greet cast and guests Check and collect information Medical information is confidential Inform cast of next rehearsal details Schedule (will vary) Introductions Design presentations Equity business Vote on lunch 1 or 1.5 hours Ask about 5 or 6 day week (20:02 (D) Deputy election now or after lunch (8:05, 10:00, 24:00, 46:11) Sign forms Theatre business Read through Line changes procedure Length of lunch break Deputy election SM chat to cast Contact corrections Company rules Coffee system Telephones and messages Work schedule 20:01 (F) Posting of Calls Rehearsal conflicts (5:08 Exclusive Service of the Artist) Daily/weekly schedule pattern Breaks when (20:00 c) Pay cheques 16:00 Fees 16:04 Time of Payment by cheque 16:17 Vacation pay16:18 Registered Retirement Savings Plan Facility issues parking, washrooms, building hours, etc Finding food Bios due Safety issues: Health, Fire evacuation plan, Valuables Director chat to cast REHEARSAL PERIOD 46:11 Duties and Responsibilities of Stage Management 46:10 Prohibited Duties 46:12 Other Duties 46:13 Additional Duties Lights and Sound Duration 3 to 4 weeks Arrive 1/2 hour before rehearsal starts Rehearsal procedures Director is responsible for interpreting the script Works in phases 1. cast understands the character

2. blocks - set the moves 3. pacing timing of lines and business 4. interaction - with sets, props and each other Musicals often rehearse different parts at the same time SM s must split up Overseen by a Production SM Non-musical duties Insert breaks at appropriate times, 46:16(E) Meal breaks Start at the table Understanding the text and characters Coordinate props, costumes Blocking notation Schedules maintain Stay on book Time scenes and acts Take daily notes Note who Equity Deputy is on first report Keep prompt book up to date Notes to departments Current line changes (46:02 Production rights) Actor flow chart Assign ASM duties Standard work day for SM 8.5 hours with 1.5 for preparation Without the director Drill scenes with the cast Speed-through or Italian run Review tricky staging French scenes Every time a character enters or exits a new French Scene starts That part of a scene where the numbers of characters is constant Use a cardboard template to trace the set for that scene on page Spiking set pieces Spike tape on upstage side to hide it from the audience Label if necessary: Write on it, or colour code it Glow tape Prompting Determined by the director Do not take it personally Each performer has different needs Techniques Read as you go mouth the words Look up from text as often as you can for visual support Give the actor the line clearly without emotion Only give the actor what part of the line they need Give signals that it is alright Note where the pauses are Mark errors in pencil as you go Mark lines with a caret ^ C called for line P paraphrased BB bobbled L - late PR pronunciation J jumped cue LX late cross H handle extra word added S sequence jumped out of Timing Time run throughs and performances Scene by scene Record each night Rehearsal log Diary of events Scenes rehearsed Rehearsal reports Written reports are sometimes required Keep producer informed Not all information goes to everyone Tardiness (11:02 Breaches by the artist)(19:00 Duties of the Actor) Program information Collect as you go Check with the publicist Cast in order of appearance Production crew Biographies Act and scene breakdown Acknowledgements Director notes Double check names and information Let everyone check this Costume What is required Padding Book costume fittings Show needs Sound Needed for rehearsal

Cues develop and record in script Musical instruments required Properties May need right away Introduce new props to cast Draw list from script analysis and production meetings Meet with the property master to get rehearsal props They will not give you the real thing Use actual props if you can Mock up the others Props, furniture, set pieces Keep valuables locked up Recording stage fights Use a qualified fight director Method one: Label the moves Cut Thrust Parry Label the body areas Note: avoid the head area 12 34 56 78 Write each move on a line with the counter move Actor I Actor II Attack 2 Parry Parry Attack 6 etc Method two: Write it out longhand Method three: Video tape in slow motion action Safety notes: Check the weapons for Is this weapon suitable for stage use Tight handles Burrs on the blade edge Safety issues Keep records Head off problems Inform management and deputy of any accidents Reference material Assistant director or dramaturge Scheduling Schedule must be posted by the end of the day (20:01(F) Posting of Calls) Actors tour the stage or shop Access to the stage Rehearsal issues Rehearsal day (18:37) Rehearsal conditions (20:00, 56:03) Preparing the script Obtain and prepare scripts Control distribution Order enough for everyone in cast, management and crew Check if rights are obtained For big changes in script rewrite on the computer SM needs several scripts Blocking and staging notes Prompt script THE PRODUCTION BOOK Two books are common One for rehearsals Organizational forms and notes, Inter interpretative notes Blocking notes and cues Second book keeps the technical cues easy to read Sample categories Pre-audition notes and forms audition pre-rehearsal Script rehearsal technical Performances post performances Sample departmental organization management notes and forms script director

actors props scenery costumes and make-up lights and sound Possible forms Pre-production Checklist script record theatre information sheets production fact sheet production meetings program information approval audition form Auditions audition notes/schedule cast list Pre-rehearsals calendar - 6 weeks calendar week by week contact sheet script breakdown character breakdown prop breakdown rehearsal prop request rehearsal costume request publicity sheet rehearsal call Rehearsals sign-in sheet production log program acknowledgments dance sheet combat sheet accident report Blocking and refining rehearsals borrowed items record rented items record Technical rehearsals preset plot shift plot prop sheet costume change plot light cue sheet follow spot cue sheet cue sheet dimmer/instrument check stage manager's report repair sheet Performance - photo list Sign in sheet Blocking notation Basic terms Stage locations US, DS, SL, SR USR, DSR, USC, DSC, USL, DSL Arena stage Label like a clock or compass Concentric circles Character names A.D. Anne Driver B.D. Ben Driver Ch Charles . Theatre . 7 Action Enter ent Exit ex Cross X Cross to X Cross 3 steps X3 Rise up Sit down Turn Up U Down D Right R Left L Around @ Circle c Pause Beat b Furniture Each production will use different pieces Be clear Be consistent (Table ta Chair ch) Examples B.D. ent USR, x sofa, Ch x5 A.D. x @ SL of ta UC Most actors move on their line Use carets ^ to insert where in the line the actor moves Mark in light pencil Examples Mary: ^ I will be here all day. XDL Moves before the line Mary: ^^ I will be here all day XDL Begins and ends her move before line

Production Schedule Information Props Final additions to the props list major/minor items Move props to the theatre Set props in wings Costumes Assign available dressing rooms Costume fittings Makeup workshops Makeup required in rehearsal Quick costume change rehearsal Dress parade Costumes required on stage Schedules Dress rehearsals with audience (18:50 (E) dress Rehearsal) Tech schedule: Light hang, Light cues, Level set sound and lights Cue to cue Tech dress Special rehearsals Fights Music Dance Warm up room booked (20:01 (K) Classes, Warm-ups) rehearsals after opening night Note sessions (20:10 Notes) Publicity Interviews Biography information and photos due Photo call Shot list to be selected, TV shoot, Archival photos/video AUDITIONS Either open call or booked appointments Stage Manager should be involved Primary responsibility Make procedure run as smoothly as possible Assist the director any way you can SM s function Prepare the space Waiting area Close, comfortable Signs to find the room Access to washroom Post information re audition, readings and the production Audition forms to be filled out Explain procedures on paper and post it Audition area Good lighting, Acting area, Director area, Coffee, water Maintain lists Everyone is nervous - Creators and Actors Be formal but calm, friendly and patient You are there to support the actor but also to supervise them Let the actor know what you can Get their name, number, picture, resume etc. Let them know how long the will have to wait Provide water, tissues, phone Introduce each actor to the director Accept the resume - Show it to the director Double check that they are ready If reading from a script SM may be asked to read a part

Actors may ask you questions Mark the stage where the actor should be Keep accurate list of who auditioned in order Keep a file card on each actor Controlling scripts Callback schedule Paperwork Review actor information at first read through Biographical data publicity, Costume sizes, Medical information Employment forms, Equity forms contracts Make cast/crew list Give to: Director, costumes, publicity, payroll, union, ASM, reception, doorman, box office - Use as check list DANCE AUDITIONS Musicals have large chorus dance auditions Use stack of numbered coloured cards One for men, one for women Have dancers fill them out Collect cards as they enter Keep cards in the same order as the dancers Important to keep track of who s who Audition Checklist Sample 1. Inspect space/post signs to aid traffic flow 2. Assign and position staff to facilitate flow 3. Mark stage and fix lights 4. Take notes for the director and maintain paperwork 5. After audition secure props and reorganize the space 6. Post callbacks and information on time and space 7. Manage callbacks 8. Post cast list and first rehearsal call 9. Assign scripts Audition Form Sample Date Production Auditioning for: Name Home phone Cell phone Business phone E-mail Address Student School Program Year Employer Union affiliation Agent/Agency Phone Schedule - indicate hours in class or at work Time Sun Tuesday Wed Thurs Fri Sat Sun 9:00 10:00 11:00 etc Height Weight Age range Hair colour Eye colour Vocal quality Vocal range Solo Chorus Tap dance Ballet Jazz Other Play instruments Theatrical training Stage combat Accents/languages Other skills

Physical fitness Acting experience (attach resume or list roles with dates, plays and theatres) Current commitments Photo THE PRODUCTION SCHEDULE Create a master calendar Season PM Show SM Only make one and update it Should be posted Suggested items for calendar Concept meeting Design deadlines; scenery, costumes, lights Auditions casting deadlines, understudy casting Readings, first rehearsal Rehearsals Building deadlines Production meeting dates Actors off book Props deadlines rehearsal, working props, final additions Load in Lights hang and focus Sound deadlines Publicity photo call, interviews, archival photos Costume parade Tech weekend schedule, dress rehearsals Opening night, performance dates, closing, hold over, strike Strike complete Holidays, other bookings etc REHEARSAL SCHEDULES Check this carefully Dates, scenes, who is called (list them), place, time Post / distribute early Coordinate with everyone Room bookings Director Actor schedules, union rules Props and costume shops Include contact list of phone numbers If full schedule is unknown Include possible dates Do not abuse people s time Post all actor information on the callboard If absent, be sure actor knows next call Keep extra copies of schedule Other rehearsal Fight rehearsals Costume fittings schedule times Dance and music may need extra rehearsals Understudies rehearsals Production Meetings Hold as soon as possible Many questions to answer, Reality-check, SM usually runs meeting (sometimes PM)

Who should come Director, Producer, General Manager, Playwright, Designers, Production heads, Casting Preparing for the meeting - Prepare agenda with director Contact list - List everyone who is coming and their position on the announcement List contact numbers of shops, office, theatre, etc Prepare preliminary production schedule: Meeting dates, Rehearsal dates, Design dates Dates people are away, Casting dates Try to set standard meeting times, Send reminder before meeting, Phone to confirm Start meeting with introductions Pass out schedule, Directors remarks, Alternate routine items with complex ones If possible schedule a break before major issue, Keep good notes with quotes Type notes right after meeting and distribute, Early show and tell of designs MEETING STRATEGIES Room layout issues Conflict resolution Community at work Gradients of Agreement Scale Endorsement I like it. Endorsement with minor point of contention Basically I like it. Agreement with reservations I can live with it. Abstain I have no opinion Stand aside I don t like this but I don t want to hold up the group Formal disagreement but willing to go with majority - I want my disagreement noted in writing but I ll support the decision. Formal disagreement with request to be absolved of responsibility for implementation I don t want to stop anyone else, but I don t want to be involved in implementing it. Block I veto this proposal MEETING AGENDAS Documents distributed in advance of meeting to help participants maintain focus and reach decisions in an orderly manner Agendas Purpose or topic of meeting, Participants, Logistics time, date place, Resources needed Closure Minutes Record what was discussed Prepare and distribute to all participants Minutes should be prepared and distributed immediately after the meeting Minutes sample format Theatre @ . Hamlet Production Meeting Minutes A check list Musicals The stage director, music director, choreographer collaborate Dance captain may be one of the dancers Music director and stage director Choreographer should attend early production meetings Production schedule Any changes Deadlines - Will any thing not be ready for it s first use on stage Sound Program sound in greenroom and dressing rooms Type of sound board Rehearsal music - piano etc

Wardrobe Quick change areas needed Musicals movement required Cueing Will cue to cue be a run with stops or just cue sequences Paper tech needed What kind of fly system Cue light system Voice of God Projects How are house lights controlled Noise problems, Do air currents disturb fog effects Lighting When does the lighting designer need spike marks on stage Lights and sound run from Follow spots used Type of lighting board Who will be walking lights When will the lighting designer see a run-through Headsets How many headsets are available How many channels Scenery Musicals require more space Larger casts, dancing room and more scenery Floor surface Texture for costumes and dancing Sprung floor Dance floor, battleship linoleum, masonite Taping a floor Platforms and stairs Hold large choruses Will they be danced on Descend while singing, tap dancing Should have the stairs and platforms in the last 2 weeks of rehearsal Props For music available early Coordinate with music May need extra pieces Lockable space for rehearsals Scene changes (24:20, 46:11H) Are actors or crew doing the changes Does the backstage area need carpets for sound control When are the dressing rooms cleaned, by whom Dressing rooms or greenroom shared with another company Warm up space available Type of stage floor Moving Vehicle and boxes for moving from rehearsal to stage Sight lines Do any seats need to be roped off due to sight lines Overtime

Is food required between shows on a two per day show day (22:04) Overtime required for stage management of cueing or set up Safety Fog and smoke use the safest material Problems for singers Slippery floor for dancers Other Mask noisy projectors Remind director to hand in program notes Plan gifts for opening night Find out what the opening night plans are Responsibility of rehearsal dancing is usually left to the dance captain MEETING THE DIRECTOR Director establish regular private time for comparing notes each day personal likes and dislikes Script Which version/translation Do actors have any new cuts or additions Do you need a new copy How would you like your script bound Cast (19:99 duties of the actor) (5:00 responsibilities of the artist) Is present cast list correct Are all actors starting on the first day Do any actors have permission to miss any rehearsals Are there any contract riders that need to be discussed Should actors arrive with anything on the first day What is the plan for understudies or future replacements Are there any non-Equity actors (or Equity actors) (18:21 non-members) Is there a deadline for cast to be off book Rehearsal room Location Floor taping confirm Rehearsals Director s duties (44:03) First rehearsal plan with director Introductions Design presentations Equity business Theatre business Read through Line changes procedure Length of lunch break Deputy election SM chat to cast Director chat to cast Rehearsal hours - schedule Plan daily/weekly schedule pattern Five or six day week (20:02 (d) Five day rehearsal week) Five hour only rehearsals (20:02 (b) shortened days) Breaks when (20:00 c) 5 minutes per hour of rehearsal

10 min per 1.5 hours musical theatre (56:03 a) 15 minutes per 2 hours of rehearsal 10 min reminder before breaks Rehearsal conflicts Director schedule Actor schedule Rehearsal hall schedule Designer schedule Stage schedule Is the director staying after the opening performance Plan to rehearse after the opening performance (20:06 After opening) Rehearsal costumes What is required Sound system Needed for rehearsal Cues Musical instruments required Rehearsal properties Props, furniture, set pieces Additions or deletions to props list Rehearsal props when Props add deadline Safety issues Reference material Assistant director or dramaturge Wigs and make-up Facial hair, Haircuts, Special effects Other Preference for first day treats Pitch pipe needed Warm-up mats Actors tour the stage or shop Director or SM creating the scene breakdown list Who reads stage directions at the read through Rehearsal issues Rehearsal day (18:37) Rehearsal conditions ((20:00, 56:03) How long for actor at the table before blocking? Strict blocking from the start, or improvisation Do you formally call places to begin each rehearsal rehearsal policy for visitors prompting guidelines when off book how much discussion before being encouraged to continue make it clear that all notes and schedules to the cast and crew go through you and not through the assistant to director let director know that you want to make life as pleasant as you and budget will allow MEETING THE PRODUCER Communicate Ideas and needs of yours Hidden costs (found in analysis) Establish lines of communication

Your work requirements The producer does not want to hear every problem but must be warned about major problems or decisions they will be facing PRODUCER CHECK LIST Safety First aid kit (24:08 first aid kits, 18:32 stage fighting) Who has first aid knowledge Where is Equity cot and blanket Front of house nurses station Medical help Doctor/dentist/hospital Fire escape/alarm policy Who will explain alarm sequence What is fire safety plan Check exit signs Is there a fire curtain Safety issues (18:31, 18:11, 18:32, 20:01, 23:00, 24:00) Are experts being hired to teach these issues Fight captain, dance captain hired Safety is important for crew as well as cast Facility operation Front of house Crew - House staff Parking Rehearsal hall Office Dressing rooms Recycling Scheduling Confirm all performance dates Previews, matinees, hold over, question periods Establish preliminary dates Meal breaks, prep time, technical schedule, rehearsal schedule Department s hours of work Rehearsal rooms booked for other events Stage booked for other production Deadlines - What are they Reporting Distribution lists Production meetings - How often, When, Where, Who Show reports Petty cash Travel forms Cast/crew Contracts Equity bond (29:00 posting of security) Equity contracts (31:05) Any non-equity cast members Spelling of names Designers arriving Contact information Contact list Confirm spelling

Phone numbers E-mail Agents names Production and administrative staff Theatre numbers and address, Box office Crew Union or non-union Obtain names Deputy package (appendix IV page 138) Who has it ASM s / apprentice Artist information package Script Play rights obtained Scripts How are they distributed Prompt book Production issues and equipment Sound - Equipment available Designer, composer, musicians Rehearsal equipment needed Sound tape available when Actors being recorded Instruments needed Lighting - Equipment available Set - Get ground plans Set pieces needed in rehearsal Wing space available Crossover available Model available for rehearsal Any mechanical operation run from backstage Special effects Props - Rehearsal props Costumes Production photos and video Policies Smoking - Where when Overtime - Who approves Coffee - Where, how, cost Stage management supplies Computers Photocopying Taxi Keys/codes Cancellation of show What is expected of you Work hours Duties outside of rehearsal and performance Responsibility general rule only SM everything behind the curtain Manager everything in front Types of managers Varies with type and size of theatre

Regional or resident Commercial theatre company manager Business assistants often handle financial matters Communication must be clear and open First meeting Listen - How things should be run PRODUCTION STAFF SM gives the signal, others follow Selecting the crew Analysis should help with crew numbers Work with department heads Assistant stage managers (ASM s) Affect your success Delegate responsibility Should have at least one, may need two Every entrance, exit, scene shift should have a ASM present Understudy/ASM Responsibilities What is comfortable to each 1 actor oriented jobs 2 technical orientated jobs ASM responsibilities - Care and feeding of the cast First aid Script maintained Security Scheduling Define clearly SM still has authority and responsibility Talk to each other about everything SM will then have more time for the director STAFF FUNCTIONS Producer Usually at the top of the power structure, is in charge of the business of the theatre. professional theatre - an individual representing the investors; community theatre - individual or committee representing membership educational theatre - academic department id the producer representing the institution Production Manager Responsibilities can vary from one company to the next may not exist in some companies usually liaison with management above the SM Stage Manager (SM) answers to both the producer and the director assumes as many of the director's tasks as possible in order to free the director to direct is responsible for running rehearsals and performances. leads production meetings maintains a chain of communication between theatre staff and artists builds and maintains production book notes and corrects all blocking during rehearsals calls all cues during technical rehearsals and performances After show is opened is charged with maintaining the integrity of the director's interpretation of the script

maintaining the physical elements of the production (scenery, costumes etc.) maintaining the cast and crews as "family" Assistant Stage Manager (ASM) a distinct position with its own accountabilities - assistant is a misnomer assigned specific tasks to aid in the smooth running of rehearsals and performances may range from rehearsing dance or combat to giving line cues and running props to total responsibility backstage during technical rehearsals and performances If SM is in control booth then an ASM on either side of the stage is desirable a heavy show should have 2 ASM's Production Assistant (PA) responsible to the ASM and may be given tasks such as supervising stage crews calling line cues sweeping the stage there may be more than one PA Production Stage Manager (PSM) is a loosely used title sometimes assigned to the producers assistant who acts as a trouble shooter may be a permanent staff position involving coordination of rehearsal time and space for multiple productions supervision and training of all SMs working in that theatre may be assigned to an SM responsible for several productions being performed simultaneously Director responsible for interpreting the script collaborating with designers to maintain visual unity blocking and refining the actors' interpretations coordinating the various artistic aspects of the production Designers collaborate with the director on visual concepts and artistic decisions provide renderings which the TD and the crews bring to life Technical Director responsible for most technical aspects of a production scenery, lighting, sound and those crews BEFORE REHEARSALS BEGIN Get things to run smoothly on stage and backstage Gather equipment Be aware of police, fire, and municipal regulations Inspect safety concerns Get to know the theatre Make a diagram of the stage Check out the breaker boxes Make a diagram of the lighting instruments Keep a to do list Make a prompt script Do a script analysis Write out plots Make a master calendar Create a contact list Make small contact cards Schedule production meetings

Distribute rehearsal schedules Arrange the callboard Distribute and explain company rules Keep a budget and record of expenses Obtain audition forms Make get patterns Make a supply directory Post emergency numbers Set up office Signage make Discuss duties with stage management team Design show logo for notes etc Obtain script changes Prepare blank paperwork forms Meeting notices, Rehearsal reports, Rehearsal schedule blanks Show reports, General memos, Act/scene timings blanks, Sign in sheets Equity information Contract information REHEARSAL ROOM EQUIPMENT LIST Power Lights Green room Smoking policy Curtains blackout Lock-up area Sound system Tuned piano Phone books Dance mirrors Heating and air conditioning Nearest transportation Obstructions (pillars) Measurements Recycling boxes Drinking water and cups Paging system Warm up rooms Washrooms Tables, chairs Coat rack Costume rack Fire escape route Music stands Telephone buzzer unit A CHRONOLOGY OF STAGE MANAGEMENT TASKS BEFORE YOU ACCEPT THE JOB Read the script Assess the theatre company Who is directing, cast, designing, producing Assess career move TAKING CARE OF YOURSELF Contract issues

Weekly salary CTA Sector 1 and 2 Company Categories Point of Origin Outside Point of Origin A, Point of Origin Outside Point of Origin Additional duties extra fee CTA Additional Duties Prohibited Duties Other Duties Additional duties Per diem amount Accommodation allowance Transportation issues Dates Prep week First rehearsal First public performance Previews Opening Weekly performances Day off Closing date Extensions Hiatus period CTA Partial Week of Engagement, Stock, Joint Production Hiatus Touring/Joint productions CTA Working In-Town and On Tour Accommodations and prices CTA Accommodation Lists Negotiate everything you can After signing contract - Reread script, Read research material, Prepare your bio/photo CANADIAN THEATRE AGREEMENT (CTA) Between the Canadian Actors Equity Association (CAEA) (Equity) (www.caea.com) And The Professional Association of Canadian Theatres (PACT) (www.pact.ca) CANADIAN ACRTORS EQUITY ASSOCIATION (CAEA) Is the professional association of; Performers Directors Choreographers Stage Managers Engaged in English language live performance including Stage, Opera, Ballet, Dance Member responsibilities Deputy elections Every Equity production must have at least 1 deputy Cast member who is elected to represent the artists interests in the production Direct link from cast to equity office Elected first day of rehearsal Open only to equity members in cast/SM

. Theatre . 6 Job is to watch and report difficulities not mediate Voluntary position no payment Secret ballot Consulting with the stage manager Responsibilities Health and safety, Moving scenery, Touring, Other issue PROFESSIONAL ASSOCIATION OF CANADIAN THEATRES (PACT) Mandate: Gain recognition and support for professional theatre in Canada. Support the development of Canadian theatre companies by sharing resources and knowledge. Develop working standards and relationships with theatre professionals through their associations. Inform and connect theatres across Canada through a communications network. PACT believes: Theatre makes an essential contribution to Canadian life on every level - cultural, social and economic. The experience of theatre should be readily accessible to Canadians and theatre companies should be as diverse as the Canadian society they reflect. Theatre professionals deserve supportive working environments - structured enough to provide security, but flexible enough to encourage creativity, afford risk and accommodate change. PACT works in four main areas: Advocacy and Education: united voice for Canadian theatres influences cultural policy at all levels of government. Communications: Communications Centre (PCC) publishes and distributes The Theatre Listing, Human Resources in the Canadian Theatre Artsboard. Canada's monthly employment bulletin for the arts Professional Standards and Labour Relations: PACT negotiates agreements with: Canadian Actors' Equity Association (CAEA) Playwright's Union of Canada (PUC) Associated Designers of Canada (ADC); monitors and interprets their application. . Theatre . 7 Professional Development Annual General Meeting & Conference provides forums on issues in theatre creation, arts administration and board governance. Members also share ideas and concerns at regional and category meetings Quarterly newsletter impact! British Columbia Members: * The Arts Club Theatre, Vancouver * Axis Theatre Company, Vancouver * Belfry Theatre, Victoria * Carousel Theatre, Vancouver * Firehall Arts Centre, Vancouver * Gateway Theatre, Richmond * Green Thumb Theatre for Young People, Vancouver * Headlines Theatre, Vancouver * Pink Ink Theatre Productions, Vancouver

* Playwrights Theatre Centre, Vancouver * Sunshine Theatre Company, Kelowna (Email: suntheatr@silk.net) * TheatreOne, Nanaimo * Touchstone Theatre, Vancouver * Vancouver Playhouse, Vancouver * Western Canada Theatre, Kamloops . Theatre . 8 PREPRODUCTION ANALYZING THE SCRIPT Begin by reading the script 1 no notes, story only 2 go through like a detective look for stage directions acting directions potential problems Secure scripts Does the company have the play rights? Enough for actors and crew Photocopy Tracking changes Get electronic version PRODUCTION ANALYSIS Starting point for discussions with directors, designers, producer Helps with budget space for costume changes time for crossovers entrances and exits saves time avoiding blocking mistakes helps create agenda for production meetings include all areas in production analysis This becomes the key code for the first page of your production book Procedure Take legal pad (8.5 x 14) and turn sideways Or use spreadsheet or fields on computer 8 columns ACT/SC/P#/CAST/COST/SET/LX/PROPS/SOUND/SFX/SPECIAL ACT/SC/P# Keeps everyone on the same page in the script Shows where most action falls Crucial for scene breakdowns ACT I, SCENE 2, PAGE 6 - reads I/2/p6 CAST/COST Contains information needed for Costume plot Actor scene breakdown Note entrances and exits Basic description of character, age, type, etc Note changes in the character . Theatre . 9 Indicate where costume notes are from the writer Pockets, jackets off or special costume needs Costumes used for props blindfold Passage of time, seasons etc may indicate costume changes

Note action; fights, falls, use of blood SET Mark each setting and all scenery shifts Size of running crew Designer shift problems Think ahead Be aware of the following elements of the set Location of the doors Large enough for action, costumes, props? Stage floor Moving pieces handled by actors Elevated playing areas Flying pieces during action Curtains, windows etc handled by actors LX (LIGHTS) Changes in time of day or seasons Practical lights Mood or effect lighting etc Blackouts (BO) PROPS Every prop mentioned or indicated in the script Make preliminary props list SOUND Every audible effect Live music or on tape Indicate source or location of sound effect Music SPECIAL EFFECTS (SFX) Coordinated efforts props etc Weapons explosions, fire Rain or running water Special cueing SPECIAL NOTES Anything that will involve extra planning, expense, or personnel Accents or dialects Fight director needed Special licensing THEN Photocopy finished product Now you can make plots and schedules