Roles and Responsibilities of a Stage Manager - Coursework Example

Stage Manager: Roles and Responsibilities Introduction Stage managers are individuals who assist the director of the play while supervising backstageactivities. Directors, actors, stage crew, designers and technicians rely on him/her for practical and support throughout the production or filming process (Stage Manager, 2005). A detailed explanation of a stage manager’s task during the production process could be linked to every individual working in the production. They got a hand on everything, from pre-production, rehearsal process, tech week schedule, things allowed and not allowed during the performances and even the personal matters of the actors are taken into account by some stage managers. Stage managers are situated in the middle of these things. He himself is the communication link between all the people involved in the production (What does a Stage Manager do, 2008). Role and Responsibilities of a Stage Manager It would be a waste of time and space to list down in detail the roles and responsibilities of a stage manager. A stage manager stand in the middle of every action and serves as a the central figure that connects everybody with everybody else within a set or a production. Thus, a stage manager is expected to organize and handle task after task while evaluating people’s performance (Stage Manager Job, n.d.). The following list summarizes the roles and responsibilities that a stage manager has into simple and short ones (Stage Manager, 2005). They are the following: Scheduling rehearsals and supervising each one of them Maintaining a steady line of communication with the director in order to ensure the work flow of the production Constant communication with the technical directors and designers Overseeing the stage wherein the performance is going to take place Running the production meetings Producing rehearsal reports in daily basis Facilitating Props/costume changes/Sound cues/Light cues These the simplified roles and responsibilities of a stage manager. However, these things that were mentioned only enumerate the overall role and responsibilities of a stage manager. These still lack in definition and clarity regarding the tasks that fall under the job of a stage manager (Stage Manager Job, n.d.). Thus, the following pages will be dedicated in explaining these roles and responsibilities in order to enumerate and elucidate as detailed a manner as possible the tasks of a stage manager. Doing these will be a great help in preparing the outline needed for the theatre tour that is going to take place for these upcoming weeks. Furthermore, it would serve as a guideline regarding the do’s and don’ts during the production process. Scheduling rehearsals and supervising each one of them In the theatre and film industry, the schedule of rehearsals or taping should be discussed as much as early as possible between the stage manager and the director in order to sort out the technicalities and the personal schedule of the actors (What does a Stage Manager do, 2008). However, there are some directors who are uncertain when it comes to time and space for the upcoming rehearsal; thus, stage manager, for most of the time, is left with the responsibility of overseeing schedule for every week in order to ensure the continuous work flow of the production. Additionally, a stage manager is also responsible in posting a list wherein it indicates which actors or actresses is going to be involved in each scene of certain acts. This makes it easier not only for the actors but also for stage crew to prepare. Also, there are instances when a director intends to work out with one or two actors regarding all of their scenes in a day or two. There are also some cases wherein a director cannot decide which scene should be rehearse, therefore the presence of the entire cast is needed to ensure that rehearsals could be on track when the director decided what scene should go first. In these circumstances, the stage manager should be in charge of ensuring the presence of the needed individuals by informing the entire crew regarding the changes in the rehearsal schedule (24 hours in advance or by the end of every rehearsal). In order to make this possible, a stage manager could inform them via voicemail or by using a callboard in which the latest changes in the rehearsal schedule is posted (Marcello, 1998). Maintaining a steady line of communication with the director It is expected that no matter how experienced a stage manager is, there are still directors who work differently from the rest, have established certain expectations for the rehearsal, technical and actual performances (Marcello, 1998). Therefore, in order to ensure that there would be no delay in the production, a stage manager should establish a good working relationship with the director from the start of the work and the same could be said of the director. A stage manager should be aware of the of the preference of the director when it comes to the rehearsal – if he/she prefers concentrating first with a scene that features one or two performers or if he/she prefers to have the entire crew present in order to work out the best as much as possible. A stage manager should also know the preferences of a director when it comes to the rehearsal space that is going to be used, the kind of music genre to be used for this certain scene or the kind of props or furniture needed (Stage Manager Guidelines, n.d.). Although there are some instances wherein there are specific directors assigned to deal with these things, a stage manager should still be, as always, overseeing the work of each crew, to ensure that everything is according to the plan and the director’s preference. All of these could contribute to the overall success of the rehearsals and the actual performances (Marcello, 1998). Furthermore, a stage manager is expected to hand out a rehearsal report to the director just to make sure that everything is working according to the plan set out before hand and to keep the director informed about technical notes given by the other crew regarding some changes or problems that might occur during the rehearsal and the actual performance. Lastly, by making sure that all aspects of the show will perform effectively according to plan during the actual performance of the show, a stage manager allows the director to concentrate on his/her own work, thus ensuring a better outcome (Marcello, 1998). Constant communication with the technical directors and designers Throughout the production process, a stage manager must be in constant communication with the technical designers and directors. Maintaining direct contact with the technical crew would give the stage manager a chance to follow up any rehearsal notes taken by the technical director that is in need of attention and cannot possibly wait for a production meeting in order to be addressed. Another issue that is directly affected by the level of communication and relationship between the stage manager and the technical director is the safety of the people in a production. A stage manager should prioritize, as always, the safety of the actors and the crew by checking the every piece of props present in that space where the actor will walk, jump, stand, run on or used with co-actors like swords or guns. To help a stage manager in these tasks, technical directors should submit daily copies of report indicating what kind of props have been built, props that could be used and could be used and notes about safety precautions like the proper of use of swords and guns and dimensions of the stage wherein the rehearsal and actual performance will take place. Accidents and waste of time due to broken scenes could be prohibited by establishing daily reports and constant communication between the technical director and a stage manager (Marcello, 1998). The same situation and consequences could be applied regarding the relationship between the costume designer and the stage manager. In case of an emergency, a stage manager should be updated about the costumes. A stage manager should know which actors or actresses will wear this certain kind of costume and in what scene will these costumes be used by the actors or actresses. Since stage managers also work hand in hand with the technical directors, he/she could also take notes whether the costumes fit into the background scenery or not. Lastly, for safety precautions, stage managers should also seek beforehand the approval of costume designers before using any of the costumes (Marcello, 1998). Overseeing the stage wherein the performance is going to take place With the help of the technical director, a stage manager should also be aware and inform regarding the stage wherein the rehearsal and actual performances will take place. A stage may be simple as it seems but it has one of the biggest parts to be played all throughout the production. It is where sceneries after sceneries will be put on, actors and actresses will play their part and of course, the venue of the actual performances (Stage Manager Guidelines, n.d.). The role of the stage manager along with the technical directors is to oversee whether the stage that is going to be use will be appropriate for the upcoming rehearsals, the background and props that are going to be use and whether the stage is safety enough to be use. An example of a stage manager task when in comes in supervising the stage is the taping of the floor. As the name imply, taping of the floor will involved spike tapes in which a stage manager will use each tape (different colour as much as possible) in marking certain places in the stage. Each colour will correspond to a certain scenes, the place where the actor need to stand, run or jump for this scene or to mark a place wherein a props or backdrop would be moved or put to (Marcello, 1998). In order to carry out this task as effective as it can, a stage manger should be well informed regarding the scenes that are going to take place or what props or backdrop is needed for this scene. A stage manager should ask for a copy of the ground plan of the stage from the technical director right from the beginning in order to put on the taping and carefully plan the safety measures regarding the stage. Lastly, a stage manager should always check the taping just in case some of it were worn out or damage because of the rehearsals (Marcello, 1998). Running the production meetings Most concepts and ideas needed to run an entire theatre production are born during a production meeting. This is where the entire rehearsal schedule, technical plan, costume designs and other things that are necessary for the production process is being carved out by the people involved. Situated in the middle of this is the stage manager. A stage manager is responsible for running the first production meeting and the preceding meeting after it. He/she set up the place and time wherein all the people could be present. Before the meeting, a stage manager should take down the attendance of the people who are missing and those who are present. By doing this, a stage manager could inform those who are not present in the first meeting about the developments that took place and also to make them prepared for the upcoming meetings (Stage Management, 2004). During the meeting, a stage manager should highlight the opinion and plan from each committee. By highlighting each of their opinion and ideas, a stage manger could make a reference of possible plans and concept that could be applied in certain circumstances during the production process. A stage manager should also keep track of the schedule and inform the each committee heads about the things that needs to be done for next or following weeks (Marcello, 1998). He/she is also responsible in updating the director and each heads of the committee about the deadlines and future deadlines set during the first production meeting. Producing rehearsal reports in daily basis A rehearsal report could be considered as a daily report card all throughout the production process. Between the director and the production staff, a rehearsal reports serve as an important form of communication. In a simple manner, a rehearsal report allows the producer to keep track of the production and the problems that are in need of solutions. A stage manager is in charge of producing a rehearsal reports, if possible, in daily basis or after each rehearsal. However, most stage managers let his/her assistant in dealing with the rehearsal reports and just check it later after the rehearsal. A simple rehearsal report contains the following elements needed to draw out information (Marcello, 1998): 1. Production title, 2. Rehearsal number, 3. Location, 4. Stage manager’s name, 5. Day/date, 6. Time of rehearsal/ rehearsal break/rehearsal end/ total rehearsal time 7. Rehearsal notes 8. Costumes 9. Lights 10. Properties 11. Scenery 12. Sound 13. Schedule 14. Miscellaneous It also important to keep in mind that despite the presence of these elements, it is still possible that wrong information could be generated if the rehearsal report is no filled out carefully and specifically. Things such as colour, width, size and number should be indicated in order for the report to be as concise as possible. Director notes in each scene should also be taken down in the reports in order to evaluate not only the performances of the actors/actresses but also the impact of the lightings, sounds, backdrop, costumes and props. Lastly, a stage manager should hand his/her rehearsal reports with the heads of each committee (Marcello, 1998). Facilitating Props/costume changes/Sound cues/Light cues During the rehearsals and actual performances, most of the committee (technical, props, costume, sound and light) will be very busy in dealing with their respective work and it is not impossible that miscommunications could happen between these committees. Since the role of a stage manager is to be central communication between these committees, he/she must also be well informed regarding the work flow behind the stage and during the rehearsal process (Stage Management, 2005). By knowing these things, a stage manager could keep track of work flow all throughout the production and he/she could avoid unnecessary feud and setbacks between each committee. A stage manager should keep track of the costume changes for the actors, which scene they’ll be needing this kind of costume, and for how long a actor would this costume since there are instances for quick costume changes (Marcello, 1998). So a stage manager should create and keep a list of all of these things and during a rehearsal, he/she could oversee the costume changes. Additionally, a stage manager should also keep in the list where an actor or actresses should enter or exit after a quick change in order to avoid waste of time (Stage Management, 2005). A stage manager could ask for the help of the costume designer and actor/actresses in preparing the list. The list itself will be beneficial for the costume committee in terms of making costumes more suitable for quick changes (Marcello, 1998). The same could also be said with the props and movement of background pieces for each scene. Making a list for these would greatly help in saving time and avoiding break scene during the production/rehearsal process. A stage manager could facilitate effectively during the rehearsal and in the actual performance if he/she knows what props and pieces would be use, thus minimizing unnecessary movements that could only hinder the rest of the group (Stage Management, 2005). A copy of these should also be handed out with to heads of the technical and props committee for possible updates. When it comes in the light and sound, a stage manager task could be consider as lengthy and meticulous compare to the costume, props and background. Some of the tasks are considered as outside of what the script calls for. A stage manager could be asked to compile a list of possible music and sound effects that are needed by the sound committee for their research regarding the appropriate music needed in the production. Furthermore, a stage manager job of compiling for possible music will not end until after that, he/she should keep the sound director posted for new choices and list of music since there are some instances wherein a director prefers to use numerous sound effects or music in a single scene (Marcello, 1998). Lastly, a stage manager should notice or keep track of the director’s notes regarding unnecessary lights during rehearsal practices. Certain lights could ruin the entire atmosphere needed for that scene while wrong light cues could cause an entire scene to retake from the beginning, thus wasting more time. A stage manager should inform the lighting director from time to time in regards with the changes/adjustments needed to be done with the lighting. Outline for the theatre tour After discussing the role and responsibilities of a stage manager, it is now the time to discuss the preparation for the upcoming theatre tour. Using the role and responsibilities that were discussed earlier, an outline (still subject to revisions) indicating what approach should be used for the upcoming tour would be drafted based on the enumerated roles and responsibilities. Taking into account the conditions and various circumstances that could surround the tour; the outline would begin and end in the following manner: Production meeting – it is essential to plan before the rehearsals and tour begin. Since the tour would take place in secondary schools and the expected audience would be mostly be high school students, the language of the script should be adapted to the age of the audience. It should be simple and complicated words should be omitted. By making the language simple, the audience would not have a hard time in understanding or appreciating the play. The schedule should also correspond with the audience time. Since most of the audience are in the high school and the tour would take place in their school, the running time of the play should not be that long since it is expected that there are still classes waiting for the students. Furthermore, the play would be performed twice a day and could go on for several weeks, so it would be best to perform in a ample running time in order to avoid exhaustion on the part of the crew and performers. Costumes design, sound and lighting effects (if there would be any) should be as catchy as it can be. Once again, taking into account the ages of the audience, it would be best if the play costume, sound and lighting should be moderate enough to be appreciated by the audience. As much as possible, the sound or music that is going to be used could make the audience understand the play easily while enjoying it. When it comes in the lighting effects (if there would any) it should be able to create a lively atmosphere, befitting of the teenage audience. All of these three could be called as the physical factor in the play. They could attract the audience to listen and understand the play right from the beginning or it could also work in the opposite way. Rehearsals and the venues – since the actors would perform twice a day and in different venues, it would be best that rehearsals would take place probably a week before the actual performance in order to let the actor and crew be familiarize with the stage. A rehearsal day could be allotted to a single venue and the following rehearsal day could take place on the next one. A day or two for the rehearsals would be enough but there could still be changes coming from the director. Lastly, the venues for the performances should be reserved weeks before the tour and for the rehearsal just in case that there are other people that might use it. Actual performance – the actual performance would smoothly pass if the entire plan drafted before should be followed and if there would be no casualties’ minutes prior to the performance. In any case, a stage manager should oversee the actual performance by constantly checking if all the costumed, sound and lighting is prepared and in “good health” for the performance. Facilitatinh each one of them as much as possible. Since there would two performances in one day at different venues, transportation should be prepared before hand in order to avoid delays. Foods for the crew should also be prepared and could be served ideally in between performances. Lastly, just in case there would be future performances similar to this one, it would be best to gather suggestions or opinions from the audiences regarding the play. Conclusion As much as possible, all the roles and responsibilities of a stage manager were given and discussed in this paper. Since he/she is considered as a middle man for a production, a stage manager’s job would be always be scrupulous and detailed, thus error could be considered as grave sin since it would directly affect either the rehearsal or the actual performance. However, there are still some instances wherein a stage manager is put into situations that are new for him/her thus making room for mistakes. During these instances, help from other committees is needed. Painstaking it might be, a stage manager’s job would not be too difficult if everybody within the production would participate and carefully perform his/her job. References Marcello, L. 1998. The Stage Management Handbook. Retrieved August 15, 2008 from http://www.hofstra.edu/pdf/DD_sm-hndbk.pdf Stage Manager Guidelines. Retrieved August 19, 2008 from http://www.theatre.appstate.edu/deptportal/deptdocs/prodbook/smguide.html Stage Manager Job. Retrieved August 18, 2005 from http://www.luc.edu/theatre/pdf/job_stagemanager.pdf Stage Manager. Retrieved August 18, 2005 from http://www.aact.org/people/stagemanager.html 2005 Stage Management. Retrieved August 19, 2005 from http://www.hstech.org/prodteam/stage.htm What does a Stage Manager do? Retrieved August 19, 2008 from http://www.wisegeek.com/what-does-a-stage-manager-do.htm . Read More