Stage Management Books

Management by Thomas Kelly

The Backstage Guide to Stage
1991
Published by the Back stage books Has a great deal of important
to stage management.
*A great book for those n e w also includes many
a production. Mr. Kelly
information about the process of stage managing
theatre.
about his experience in the
wonderful personal anecdotes
Guidebook of Practical Techniques by Lawrence Stern
Stage Management A Inc. 1974,1982, 1987
Published by Alyn and Bacon, as well as a lot of
information on the
*A detailed look at the function of stage manager
a
useful
the A very well written book. Lots of
duties and work done by stage manager.
information.
Daniel A. Ionazzi
The Stage Management Handbook by
published by Better Way Books 1992 Deals with everything from pre-production
*A detailed look at the stage managers job.
infomation on basic organizational concepts and
through closing. Also includes
some

human behavior.

Wiliam J. Byrnes
Management and the Arts by
Published by Butterworth-Heinmann 1993
of arts organizations. There is a great
*This book focuses upon administrative management
of a arts group, economics, leadership,
deal of information including the organization
and marketing.These are just a few of the vopics explored.
staffing,
Theatre Management and Production in eK.a by Stephen Langley
Published by Drama Book Publishers 1990
a theatre organization. Focuses on
*Lots of information on structuring and managing
different types of theatre organizations (commercial, stock, college, etc.)

Stage Management Forms & Formats by Barbara Dilker

Published by Drama Book Publishers
This book provides forms to aid in the task of organizing and recording production
text explains the purpose of each form and examples
of
information. The accompanying
completed forms.

Backstage Forms by Paul Carter

Published by Broadway Press
This book provides forms to aid in stage management, accounting, carpentry, costumes and
and sound organization. These blank forms can be used in this
make-up, props, and lighting
book or photocopied and added to a separate production log.
 Stage Management Websites

e3Ewww.smnetwork.org/index2.htm
** A great site for stage managers!***

www.calarts.edu/dk/forms.html

www.stagetechbooks.com/psm.htm

www.theatrebooks.com/theatre/stage management.html

www.stagemanagers.org

home.pacbell.net/jmoroney

http://themikejones.tripod.com/ sn/
sbe
www.fis.ncsu.ed/ University_ Players/stuff/Stage%20Management.htm
topol

www.singaporetheatre.com/stage_management/production process.htm

www.netrom.com/bdillon/verona/manage.html a

www.theatrelinks.com/stagecraft/stage_management.htm

www.usitt.org
 MISSOURI
REPERIORY
THEATRE
STAGE MANAGEMENT KIT

OFRCE SUPPLIES #2 pencils file folders

O erasers O portable file box
O pencil sharpener O ruler
O colored pens O scale rule
felt tip markers 0 12-foot tape measure
highlighting markers O 50-foot tape measure
O nbber bands O stopwatch
paper clips transparent tape
Dglue stick masking tape
chalk O spike tape
O self-stick note pads O gaffer's tape
Ostapler and staples Oelectrical tape
calculator O double-sided tape
0 8hx 11 pads
of paper O glow tape
O company stationery O thumbtacks
O three-hole paper
punch O push pins

DICAL SUPPUES aspirin assortment of bandages TooLs hammer

acetaminophen O elastic bandages
slotted screwdriver
throat lozenges ice packs OPhillips screwdriver
throat spray O antiseptic crean of spray pliers
Ocough drops O necdies
O cold tablets tweezers
adjustable-end wrench
antacid O cotton swabs
Allen wrenches
O mat knife
O eye wash O scissors
eye patch
work gloves
surgical gauze and tape

CoNVENIENCE ITEMS matches

dental floss
O disposable cups
breath mints
disposable eating utenasils bobby pins
Oa variety of self
toys
amusement O needle and thread
O safety pins
O paper towels
O extension cords
O pre-moistened towelettes
Otissues
bottle opener
O sugar, sugar substitute,
can opener
salt, nail clippers
and peppe packets
O nail file
eyeglass lens tissues
O postage stamps
O toothpaste
O room deodorizer
O mouthwash
 Accident Report Date
By
Production:.
Page

Name of injured worker: Birth date:.

Social Security No.: Phone:
Home address:
Name of supervisor:

Location where accident occured: .

Time and date of acckdent:

Description of accident: -

Description of First Aid ghven:

C.cto:
Signature:
person filling out form

Badcstage Fomso
 Sign In Sheet Date:
Production: By:
age: of

Date: Date Date: Date

Name Date: Date: Date:
Crew Call
Productlon:
Week Ending
By:
Page
Name
Department / Asslgnment
Call Time

Backstage Forms o
 erearetRehi
Schedule o1ACSADate:
Production: By.-
Page

Backstage Foms
20
 REHEARSAL LODG
DATE:
MOOD
ABSENTEES PREPAREDNESS
PROGRESS
TARDIES:

CoSTUME NOTES:

PROP NOTES:

TECH. NOTES:

DIRECTOR'S NOTES:

S.M. PRATTLES:
 Ritual of Faith"
OTG
Day: Date Stage Manager: Tom Hagglund
Call Start End Total Rehearsal Notes
Actor 6:00 Actor I arrived 15 minutes late.
6:15 8:00 1:45 Need to work Act 1-4 next Tuesday
Actor 8:00 8:00 10:00 2:00
Actor 6:00 6:00 10:00 4:00
Actor 6:00 6:00 8:00 2:00
Actor 8:00 8:00 10:00 2:00
Actor OFF
Actor OFF
Actor OFF
Actor OFF
Hagglundd 5:455:45 10:15 4:30
Set Props
Need third chair Act 1-3.
Will the rocks support David's weight when he
sits SR Act II-4? Need two period (1860's Italy) fishing poles.

Costumes Lighting
Do we need several bloody dressesfor Lena? Do Director wans the movable center platform raised 45 degrees in
we try &wash it, orjust let the blood stay during Act II-5. C get lights in underneath?
the run?

Schedule Sound
Add Jeannefor Wednesday rehearsal@ 6:00 New sound cue (Phili Glass music) between Act 11-3/4
call her ASAP.

Script Misc.
Update changes pp. 41-42 Talk to Jason on how he's taking hisfall from table-is it safe?
 Stage Manager's Report
Name of Play"
Theater

Day: Curtain Time:

Date
Stage Manager: Audience Count:

Late
Abse Performance & Technical Notes
nt
Actor
Actor
Actor
Actor
Actor
Actor
Actor
Actor
Actor
Rehearsal & Work Calls
understudy
Stage Manager
Sound Operator
Light Board Operator Time Notes
Stagehand #1
Stagehand #1
House Mgr.
House Open: 6:30
Performance Start: 7:01
Intermission Start: 7:53
Act II Start: 8:05
Final Curtain: 8:52
Accidents or Injuries
Length of Act I :52
Length of Act II :47
|Total Run Time 1:39
Understudies &Replacements

Miscellaneous
 reset List
Item Comments
|3 dresses on dummies
Onstage
Bottle of cognac
Glass
Incense burner
Wardrobe key
Opium pipe Plate not seen.
Bread on plate

Stage Left
JAliluya's briefcase w/ manual, 2 contracts, glasses
JAliluya's Handkerchief
Feather Duster
50ten ruble bills Aliluya's coat
Wash bowl
Damp cloth Aliluya
Morphine kit: syringe, tournequet
Bag of 5 beer bottles
Full beer bottle
Tray #1
3 glasses of beer
1 glass of champagne
12 glasses of liquor
Dishrag
2 vases of flowers
Tray # 2
Cigarette: Marlb. Ultra Lights *7* ******

Lighter
Ashtray w. gel never on stage
Cocaine in box
Matches for incensse
Tray #3
2 glassess
Champagne bucket
Champagne bottle,full, open
2 fans
Telephone
Knife (Cherubim)
Iron
|Master key on key ring 2nd stranger
Bag of fake snow
Broom
Alla's coat and veil
Bottle of cognac and glass
Sheet music
Obolyaninov
 Personal
Props
|Zoyka's robe
|Medal Ametistov
Ametistov's Hat and coat
Ametistov's pants
|3 sets of papers
Hernia exemption
Marya's dress
|Lizanka's scarf Lizanka
Rings (Alla) Alla
Flower vanova
Lighter Ametistov's pocket
Deck of cards
Ametistov's pocket
Wardrobe Table
Zoyka's stockingss
Zoyka's dress
Zoyka's document
150 ruble bill
7 rubless Zoyka
Obolyaninov's pants Zoyka
Paquin gowns
Sketches of costumes
Vial of valerian drops Zoyka
400 rubles Zoyka
Money (4.1) Robber
Cigarettes-Russian |Zoyka
I5 sets of "documents Ametistov
Cigarette (lvanova) (Cigarette holder?)
Sheet music
Change of clothes for dummies Obol.

Stage Right
|2-3 articles of clothing or sheets
Ametistov's trunk
postcards
playing cards
Chair
ISewing machine table
| Sewing machine
Seamstress bag
SCissors
pincushion
elastic
spool ofthread
chalk
safety pins
|Marya's street clothes
Marya's cloak
Music box
knife |Gandzalin
Box of fabric
Ametistov
|4 rolis of money Goos
Obolyaninov's cane and hat
|Lizanka's purse: nail file, compact
 Duttes
Intermission Scene Shift-11/30/98
Kay:
Move newspaper to arm of chair
Cover armchair
Pack of cigs w/ matches on
phone table
Move phone to lower shelf of
Strike books from phone tablee
phone table
Set sewing basket d.c.
Open door
Replace lampshade on floor lamp with new
Set mirror against u.s. arm of armchair
Move ottoman
Move Tom's pea coat to d.s. hook of coat rack
Strike Amanda's coat
Strike Tom's sweater
Strike movie tickets from d.r. fire escape
Strike dish rag from d.r. fire escape
Strike key from d.r. fire escape 0
Brad:
bee
Set small rug@ d.s. edge of day bed
Cover on day bed
Change records on victrola
Strike typing table
Set vase on table next to daybed
Set decorative pillows on daybed
Set shopping bag at foot of daybed
Set powder puffs, lace bunting, and tape measure o day ved
Double check placement of yearbook

Rick:
Cover dining table w/ lace table cloth
Strike sugar bowl, S&P shakers, doily
Set 4 place settings w
Plates
Silverware ebr
Water Glasses
Wine glasses
Napkins 9M
wine decanter
Vase
Candelabrum
Strike green tray from china cabinet
Set extra
dining table chair at d.s. side of dining table A es 2 sit bna
Close curtains
ASM and SM: Completely Different Jobs?

Okay, here's one that has always puzzled me about Stage Management. You look at
thejob of the Stage Manager, and the job of the Assistant Stage Manager, and
Sometimes you wonder why the two positions have anything to do with each other
besides the title. As I see it, the Stage Manager is a combination ofa Director,a
Production Coordinator, and a Company Manager. He/she deals with designers and
Production chiefs. Meanwhile, an ASM combines a Deck Crew Chief, a Props
Master
and a Backstage representative for the management, and deals primarily with
objects and actors. What do the two have in common?
Well, first of all, there is the hierarchy. If the
the next best substitute is Stage Manager cannot call the shoW,
show the best. And in union
usually the Assistant Stage Manager, as they know the
deck duties for just this reason.
houses, the ASM is not allowed to take on permanent
But when you look at it more closely, the
an SM learns the show way that
is completely different from how the ASM
does.

While calling the show, prompting actors, and assuaging tempers are the standard
cliches of stage management,
looking at it from a professional standpoint the first
commandment is to preserve the director's intent and artistic vision through the run
of the show. They are a
judiciary, they watch the show, and make sure that it's
being executed in a manner comparable to tie 'aws laid out
design team. Calling the show is the main way of by the director and the
it's the notes and the modifications made ensuring that it stays together, but
by te SM that
place. They need to take a global view of the production: really
hold the thing in
while details build up to the
full picture, it's important not to lose
artistic experience.
sight of how the production works as a total

Meanwhile, the ASM has more of an executive role. Instead of watching the show
and keeping and eye out for the whole
with the details that make that
experience, they're in the trenches dealing
experience possible. The SM formulates the plan, but
the ASM carries it out. While the two work well as a
team, ASMing takes a
completely different mindset. The plan must be broken down into details. Jobs must
be sorted into departments, and
departments notified.
In addition to the difference in mindset, there is also the
difference in the inter-office
social circles that emerge. Quite often, the board
operators become very close to the
SM, as they are in constant contact. In my experience as an SM, though, I don't
as close with the deck get
crew as I do with the board ops. Meanwhile, as an ASM I tend
to form stronger bonds with the deck crew, and
barely learn anything at all about the
board ops. Were I to have to shift from booth to
backstage or vice versa, I would feel
more like a tourist than a substitute.

In the end, the SM and the ASM may work as a

team, but very different personalities
are required for the two jobs. Personally, I have learned that I work better as an SM-
-gaining the global image is easy for me, while the detail-oriented work of ASMing is
not really my style. I do wonder though if I'm selling myself short on
my options,
and if I'm the only one who has experienced this same ongoing division of labor from
theatre to theatre.
Stage Manager's Duties '1ogasM sgsle
The stage manager is the director's technical liaison Final Rehearsals
orlok ane
backstage during rehearsals and performance, giv rehearsals from the
Coordinate moving the
ing directions, solving problems, and ensuring rehearsal space to the stage,
if the rehearsal space
the stage for
smooth transitions between scenes. is elsewhere. This includes spiking
that is moveable.
placement of anything onstage
to set up the prop
Prior to Rehearsal Period Work with the stage crew
a convenient place
Participate in production team meetings. table and costume rack in
offstage. Set aside a spot
for quick c o s t u m e
Post audition and callback notices.
changes, if needed.
Prepare the audition space and materials, which Use glow tape to mark
areas of safe passage, and
include pencils, scripts, and forms. in place backstage and
make sure work lights are
Assist the director during auditions.
in storage areas.
Prepare a list of alternates for each role. h o i b act
.Post the cast list.
Assist in selecting crew members. Tech Rehearsals

Prepare cast and crew

which
contact sheets, Arrange a pre-tech conference (paper tech) prior
each cue in
the full tech rehearsal. Go
over
include addresses and phone numbers. to
and codde
Assist the director and technical director in plan- the show, number them sequentially,
area. Record al
schedule. them for each specific technical
ning the rehearsal master cue sheet.
cues on

Develop a schedule for tech rehearsal, includingg

During Rehearsals and crew, building in extra
rehearsal cali timcs for cast
Post rehearsal schedule and distribute
a
EKS to use if you run overtime.
schedule
schedules to cast and crew; update the the master cue
At each tech rehearsal, update
when necessary. sleer to reflect any changes. Then update your
Distribute scripts and crew.
to cast
Arrive one hour early promptbook.
Prepare the rehearsal space. At the end of a tech rehearsal, give notes, or

lay
to out the ground plan (marked with tape o n
comments, to the stage
crew.
crew to
thefloor) and to work with the stage
acquire rehearsal furniture and properties.
Take role call at the beginning of each rehearsal;
contact those who are missing. Inform the direc-
that
torregarding any illnesses or emergencies
would delay or cancel rehearsals. Keep
accurate

account of absences or tardiness.

Communicate throughout rehearsal with cast

and crew and notify the director of any impor-

tant concerns.

.Keep track of where actors and crew are during

rehearsals and be responsible for dismissing them
from the rehearsal space.
Arrange appointments for costume fittings.
.Coordinate all technical rehearsals with the
director and the technical director.
Create your own promptbook to note all block
and
ing and director's instructions to cast crew.

gudda
 Stage Manager's Duties
Dress Rehearsals
Post At the end of a night's performance, after cur
a call sheet with
cast and crew. assigned arrival times for tain calls and costume changes, gather the cast
and crew so the director can give notes. Add any
Monitor the
sign-in sheet to ensure of your own that the director didn't touch
are
arriving as they should; call thosethat people
who are and slant your comments toward the positive,
upon,
missing.
Receive reports from offering suggestions for improvement. Ask the
have
crew members after they cast and crew for notes of their own.
completed their
of the stage. checks; make a final check
Provide 30-minute, Postproduction
calls to cast and crew.15-minute, and 5-minute Follow the strike procedure for your theatre and
Gather cast and crew for a final inform all those who are required to be
curtain for the director's meeting prior to of the date and time.
present
.Call places for cast and final words. Hold each crew
is a notification to
crew. (The
"places" call ment. They should
responsible for its own equip-
rise and the ready for the curtain to
get inventory and store any
items that can be used
performance
Maintain backstage order. begin.)
to
discarded appropriately.
again. The rest should be
.Control emergencies crises: make sure
or Check with cach crew to see what they might
a fire
extinguisher and first aid kit are backstage. need, and make sure you have plenty of contain-
.Call the show. ers for trash.
After the In coordination with the set
performance, make sure all areas are construction
(shift-
clean, the
set is
ready the next performance,
for ing) and prop crews, account for and
store all
and all
equipment is locked up; report to direc- scenery, props, and igging equipment.
In
tor that the theatre is
ready to close for the coordination with lighting and sound
crews,
night. account for and store all
Work with the director to In coordination with the equipment.
coordinate the curtain costume crew, account
call, making sure everyone is for and hang up all costumes.
acknowledged. In coordination with the
makeup (or
crew
Run of the Show acters), account for and store all makeup,
Establish a call time for ncuaing wigs and other hair pieces, that belong
and crews.cast to the thcatre.
Hold cach
responsible for making sure
crew
Supervise cleaning of the entire theatre-stage,
everything is in place. Request that they notify backstage, and house.
you when they are ready for the curtain. Check in scores and scripts and make
Enforce backstage etiquette by rented
sure the
and crew provide each other withinsisting that cast scripts completely erased.
are

and personal space. privacy, quiet, Consult with crews to ensure that assignments
have been made for
.Hold a conference with the house returning rented and bor
manager and rowed cquipment.
other front-of-the-house staff to determine when
the house will open and when
you will start the
show.
Give 5-minute and 1-minute calls to cast and
crew. Cue when the house is
open.
Provide notice before the curtain
goes up.
Call places one minute before
the first actors to
curtain, and cue
appear onstage.
During the show, take notes to remember any
problems that crop up.
Carry a flashlight for signaling, but use it
sparingly.

48
Duties of a
Stage
From the LORT ContractManager

This is a decent guide

explaining what Equity expects a Union Stage anag
Topics of the month are pulled from the Subheaders of this document.

Duties and Responsibilities of Stage Management

In addition to those duties detailed in Clause 3 of this Agreement (Duties and
Responsibilities of the Artist), the duties and responsibilities of Stage Management
a rider at the
personnel are defined within this Clause, unless otherwise agreed to by
time of contracting. Stage management shall

(A) Organization of Rehearsals and Performances and endeavour to uphold the

Organize and
supervise all rehearsals
and Agreement, performances,
terms of this the requirements of Equity's Constitution, By-Laws and any
not
management rules and regulations
reguiations governing its membership, and anywith the Deputy and the Theatre's
in conflict with this Agreement and to consult
designated representative where necessary.
e e ro osg
(B) Scheduling Rehearsal Calls
and the terms of
In accordance with the requirements of the Theatre, the Director,
whether before or after
this Agreement, be responsible for the calling of all rehearsals,
or individual calls related to a 0
opening, and for the scheduling of other company
production.
(C) Discretion in Organization of Work
Manager holds a position
Recognize that the Production Stage Manager and/or Stage in
may exercise discretion arranging his/her
ofsupervisory responsibility and, as such,
e ercised by the Stage
work and that of his/her staff. Such discretion shall
with the Theatre's designate representative. The Stage
Manager, after consultation
overtine which may arise through
Manager cannot be held responsible for any
circumstances beyond his/her control.

(D) Prompt Book

the property of the Theatre, and is
Assemble and maintain the prompt book, which is
text and stage business, together with
defined as the accurate and up-to-date playing
are necessary for the actual technical and
cue sheets, plots, daily records, etc. as
will submit the prompt book to
artistic operation of the production. The Stage Manager
the Theatre at the end of the run of the production.

(E)Co-ordination and Communication

heads of all other
Work with the Director and co-ordinate and communicate with the
departments during rehearsals and after opening.

(F) Scheduling Set-Ups, Strikes, Load-Ins and Load-Outs

Schedule and control set-ups, strikes, load-ins and load-outs if required by the ae
Theatre. If, on the final day of engagement, the Stage Manager is required to
supervise the strike and load-out, he/she shall receive the regular overtime rate, 0
is
according to Clause 1414 beyond 12:00 midnight. On tour, if the Stage Manager
for
responsible for set-ups and strikes, he/she must be present
same.

(G) Scene Change Rehearsals and Cueing Sessions

Be present at all scene change rehearsals and cuing sessions for the production which
 rehearsals or
under the supervision of Stage Management during
Will come as provided
for in Clause 4405(F).
perrormances and shall attend production meetings

(H) Record-Keeping
such records as may be necessary to advise the
Theatre, the Deputy and/or
eep to the rights and
matters of discipline and other business related
tquity on company
overtime, work
of Equity members, such as, but not limited to, attendance,
ODgations working environment
on statutory holidays, meal breaks, costume and photo calls,
health and safety.

(1) Maintenance of Artistic and Technical Intentions

of the
aintain, to the best of his/her ability, the artistic and technical intentions shall
Director, producer and designer after opening, and upon approval of the Theatre,
call rehearsals when necessary, and shall prepare Understudies, replacements, ana
Extras, when or if the Director or producer is unavailable or declines this prerogative

(0) Backstage Areea

During performances, the Stage Manager is in sole charge of the backstage area, and
if the physical arrangement of the theatre necessitates technical supervision from
some area other than backstage, the Stage Manager will ensure that some member of
the production staff is in the backstage area. (See Clause 4404.) In addition, the
Stage Manager is in sole charge of cuing the movement of all scenic elements,
technical elements, and Performers.

(K) Health and Safety

Keep such records as are necessary and take all necessary precautions to see that
safe and clean conditions exist both on stage and backstage as well as in rehearsal
halls, and shall immediately advise the Theatre's designated representative if the
health and safety provisions of this Agreement are not being maintained.

(L) Security
Implement provisions made by the Theatre for the security of personal property and
notify the Theatre's designated representative when security provisions for Artist's
valuables are not available/operable.

(M) Physical Welfare of Company Members

In the absence of a company manager the Stage Manager shall be prepared to assist
and
and advise members of the company on matters relating to their physical welfare,
to this end shall, among other things, see that first aid supplies, listings of emergency
services and medical advisors, and insurance and accident report forms are provided
to the Artists.

(N) Delegation
Delegate any of his/her duties or authority to his/her staff as he/she feels necessary
that a person contracted as
for the efficient running of his/her production, excepting Such
theatre and available throughout all performances.
Stage Manager will be in the that person to be contracted as an
delegation to a member of Equity will require
Assistant Stage Manager.

(O) Production Stage Manager

be responsible and oversee the
When engaged as a Production Stage Manager himself/herself
department and may take upon
operation of the Stage Management
responsibilities listed above.
any of the duties and
(P) Show Reports
During the rehearsal period communicate with
about running times and any problems in the the Theatre's designated representative
artistic or technical elements of the
proauctIon. During performance this communication be written and filed with the
Theatre's designated representative in the form of a must show
dnagement show report shall be daily report. The stage
treated as confidential. Nevertheless, when
receives a reprimand or complaint from the Theatre based on the report, the an Artist
nds the right to access any portion of the report which may have been Artist
Lne
reprimand or the basisTor
complaint, and the Stage Manager shall be so informed immealately.
(Q) Assistant Stage Managers
he Assistant Stage Managers will work under the direction of the Stage Manager and
Wil fulfil all such tasks
as are assigned by him/her. Assistant Stage
Ever e
Solely in
Managers may
charge of a performance or a production (see Clause 4406(N)).
(R) Dressing Area
in accordance with Clause 1622, the Stage Manager has the authority to keep the
Actors' dressing area free of all unnecessary personnel during any half-hour call or
intermission.

(S) Approval of Overtime

Any overtime incurred by extending the preparation time beyond the limits set out in
Clause 4403(E) or any other limit previously agreed upon, and any overtime which
would result from other Stage Management scheduling decisions, must be approved
the Theatre's designated representative.
bne
If the Theatre's designated representative is not available for such approval, and the
working of such overtime is paramount to safety, trave! schedule or the efficient
running of the production, such overtime may be approved at the discretion of the
Stage Manager, in which case the Stage Manager siha nform the Theatre's
designated representative of such overtime in a timely fashion.

Prohibited Duties

Equity members of the Stage Management staff are not permitted to accept
responsibility for:

(A) Fulfilling Duties of Union Members

Fulfilling the duties of union members whenever members of unions are engaged for a
production.
(B) Fulfilling Duties of Theatre Management
Negotiating contracts, having riders signed or initialled, negotiating salaries or carry
Out any other function which is normally the duty of the Theatre. Under no
circumstances shall Stage Management personnel be required to execute the above
functions on behalf of the Theatre with other Equity members. This does not preclude
delivery of contracts and/or riders in a sealed envelope addressed to the individualo
Artist.

(C) Signing Closing Notices

Signing the closing notice of a company or the individual notice of an Actor or any
other member of a company.
 (D) Building Maintenance This does not preclude the
or custodial work.
maintenance, janitorial, be considered in
some
Doing building and stages as may
maintenance of rehearsal halls preparation
usual duties to be completed during
heatres to be part of Stage Management
time.

(E) Payroll but not limited to fees

and
Doing the payroll distributing
or payments (including
in a sealed envelope
allowances) except where such payments are delivered
expense Manager is
addressed to the individual Artist. In matters of finances, the Stage
The
out of his/her petty cash budget.
personally responsible only for items purchased informed of developments that may
Stage Manager should, however, keep the Theatre
involve unexpected major expenses.

(F) Meals
Serving meals for the Actors. However, at the discretion of the Stage Manager, Stage
Management personnel may order and/or obtain meals for the Actors, but shall not
assume any personal financial commitment in this regard.
(G) Understudying and Performing
Understudying or performing on stage. Only in an emergency and with his/her consent
may Stage Management personnel perform, for which performance he or she will be
paid at the prorated applicable weekly Performer's mirnimum rate in addition to his/her
contractual fee. However, where there are two (2) Assistant Stage Managers under
contract for a single production, then the second Asont Stage Manager may
perform and understudy, following the consent of Equity in advance, which shall not
be unreasonably withheld. The part which he/she is to perform must be contracted for
in advance of the first day of rehearsal for such
productions.
(H) General Office Duties
Stage Management personnel may not be required to perform general office duties
unrelated to the
production(s) for which he/she has been contracted, except:
(1) where unexpected assistance in these duties is needed, and the Stage Manager
agrees that time so given would not compromise his/her ability to complete his/her
primary duties; or

(2) in the case of Stage Management personnel hired for a season, where the period
of his/her contract includes a span of days during which the Stage Manager is free of
obligations (rehearsal, performance or preparation) to a production, in which case the
Stage Manager may agree to perform general office duties during that free span

Other Duties

As the duties of Stage

Management may differ from theatre to theatre, it is required
that the theatre discuss these duties with the
Stage Management personnel prior to
signing the contract. Any other duties than those previously defined herein shall be
contracted separately in writing and included as a rider to the
contract and the Stage
Manager and the Theatre shall be free to negotiate additional
other duties. This does not compensation for such
other duties in an
preclude Stage Management personnel from performing
emergency.
The Stage Manager
such other duties as may, at his or her
It is understood long as they do notdiscretion,
interfere
use preparation time to
accompils
that if these other with the regular
work hours
and/or during the duties cannot be accomplished preparationreguiar
within the
preparation hours, then regular overtime
au
shal
Such other duties appiy
include, but may not be limited
to, the following9
(A) Supervision of Animals
Any situation where
Equity
personnel appointed by the Stage Management personnel, in the absence of any otner
animal used in a Theatre, is responsible for the care and feeding or
production. This does not preclude the usual any or
supervision
Stage Management personnel when animals are involved in rehearsals and/or required
performances.
(B) Laundry Duties
Any situation where Equity Stage Management personnel, in the absence of wardrobe
personnel, are responsible for the collecting, washing,
maintenance of any costumes worn by an Actor. drying, ironing and/or

(C) Wig Maintenance

Any situation where Equity Stage Management personnel, in the absence of a hair
stylist, is responsible for the setting, cleaning and general maintenance of any wig or
hair piece worn by an Actor.

(D) Props Repair and Purchasing

Any situation where Equity Stage Management personnel, in the absence of a
technician or props department is responsible for the repair and purchase of
properties.

(E) Running Props/Purchase and Preparation

Any situation where Equity Stage Managemer ersonnel, in the absence of a
technician or props department is responsible for the purchase and/or preparation of
food and beverage items for a production which require
time.
extraordinary preparation

(F) Company Management Duties

Any situation in which a Stage Manager, in the absence of a Theatre representative or
publicist is responsible for organizing major publicity events, arranging
accommodation whether in or out of town, collecting any fees owed to the
meeting and/or transportation of Actors and/or goods at arrival or Theatre,
departure points.
(G) Other Stage Management Staff
Any situation in which
a Stage Manager is
required to supervise and schedule Stage
Management staff other than the staff of the production the Stage Manager was
originally hired to stage manage.
(H) Typing Scripts
Any situation where Equity Stage Management
personnel are responsible for the
typing of a full script or a major section of a script on a daily basis.

(1) Operating and/or Maintaining

Should the Theatre require that Pyrotechnics
and Practical Guns
it is understood that the Stage Management personnel take such responsibility,
provisions of Clauses 1613(D) and 2217 shall apply.
Additional Duties -

Lights and Sound

Where the Theatre
SOund boards in therequires Stage Management personnel to operate lighting and/or
absence of a lighting or sound
an additional
duty and shall be contracted technician, it shall be considered
to the contract.
The Artist shall be separately in writing and included in a rider
1404(A). This Clause shall only compensated at the rate outlined in Clause
apply toproductions presented at theatrical venues.
 13.2

STAGE MANAGER'S CHECKLIST DURING

DRESS REHEARSALS
AND PERFORMANCES

Make a copy of this form for your Stage Manager.

Before Curtain

curtain.
1. Arrive ninety minutes before
the call board.
2. Post sign-in sheet o n head of wardrobe.
with House Manager and
3. Check for messages

4. Dry mop stage floor.

One Hour Before Curtain

latecomers.
5. Check sign-in sheet for
checks with the board
operators.
6. Run light and sound condition.
readiness and proper working
7. Check all props for
8. Set the stage.
and set pieces on proper spike marks.
9. Place all furniture

10. Lower house curtain (if one is used).

Cue.
cue and sound rre-Erlain
11. Give lights pre-set
House Manager z t the house is ready to open.
12. Call and inform the

Half Hour Before Curtaina

actors and crew.
13. Give half-hour call to

14. Check sheet for latecomers.

sign-in
actors and secure them in a safe place.
15. Collect valuables from

Fifteen Minutes Before Curtain

to actors and crew.

16. Give "fifteen minutes" call
backstage and make sure everything is ready to go.
17. Check in with all crews

Five Minutes Before Curtain

and crew.
18. Give "five minutes" call to actors
 13.2 continued

Two Minutes to Curtain

19. Give "Places" call to actors and crew.

20. Inform House Manager that you are ready backstage.

21. When you get the "Go" from the House Manager, start the play.

During Performance

22. Call all cues for lights, sound, fly and scene shifts, and actors.
During Intermission

23. Give "two-minute warning" and "Places" calls, 2

After Performance

24. Personally return all valuables to actors.

25. Check with crews to make sure everything has been cleared and put away.

26. Check and lock all doors and windows.

to leave the theater.
27. Unless other arrangements have been made, be the last

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