Stage Managers Do Make Coffee

The Production Book

Now that the production process is in full swing your pile of paperwork should be growing. At this point the Stage Manager will begin to assemble the Production Book, also known as the Prompt Book or Production Bible.

Buy a large 3-ring binder and several insertable index tabs. Include your copy of the script, all production meeting notes and any of the charts or script analysis that you have produced in this binder. A copy of every piece of paperwork regarding the technical and artistic operation of the production should be kept in this book.

The sections which I decide to create in my production book depend on the complexity of the production. The following list illustrates how I would normally organize a production book for a two act musical.

• To Do
• Cast List
• Contact Sheet
• Rehearsal Schedule
• Attendance Sheet
• Conflict Calendar
• Emergency Information
• Blocking Key
• Preshow
• Act I
• Intermission
• Act II
• Post Show
• Cue Sheets
• Rehearsal Reports
• Performance Log
• Performance Reports
• Publicity
• Program Information
• Scenery
• Lighting
• Costumes, Makeup & Hair
• Properties
• Sound

Because I had never called a complete show from the score before, I was concerned at first about being able to read my pencil notations if they were written on the score pages. It seemed to me that my notation would be lost in the music. My normal methods of putting together a cueing script just didn�t seem to work well with a score.

Every Stage Manager knows that the director and designers will want to change cues all the way up to opening night, so all cueing texts must be assembled in a manner which will allow the SM to quickly and easily make changes. I thought that the Stagecraft Mailing List could be a good resource to obtain some advice from SM�s who had called shows from a score before, so I posted a query. In just three days I received more than 25 responses from all over the US and Canada.

One of the first things that you should consider doing before you spend too much time on preparing what will become your cueing text is talk to the director and your designers. Will the director use measure numbers to communicate blocking notes? This production was my first experience with a director who gave notation in this manner. It works great and is so much easier to take notation!

Another important question you should ask is how the show will be cued. Do the designers expect to set most of their cues off of the words, music or action? Asking these questions will help you decide if you should use the script, score or both. Your decision also depends a great deal on which method you are comfortable using. After all, you are the person who must ultimately be able to use and understand the production book.

In my efforts to combine the script and score for Into the Woods, I came up with a few new tricks that worked very well for me. I also learned a great deal through the responses I received over the mailing list regarding assembling a calling text.

For the longest time, I have preferred to three-hole-punch my script and score on the right-hand side so that the pages lay to the left in my production book. This makes the blank page opposite easier to write on as I am right-handed. Before rehearsals even start, I will have analyzed the script and put light pencil marks in the margins where I anticipate cues. As the show is blocked, the Director will often mention potential scenic and lighting cues. I will put light pencil marks and notes where these cues may occur as well. Sometimes, instead of pencil marks, I will use Post-it�s or Post-it tape until I am sure of the placement or functions of the cues. In the past, the final cues have always been penciled directly into my script using a sideways �L� to indicate the placement. On the facing page, I usually penciled in specific notes detailing the function of each cue.

When taking notes, I will divide the blank pages into three sections. The top of the page is a sketch or reduced blueprint of the floorplan. The left-hand column will be used for detailed technical notes as it is closest to the script/score pages. The right-hand column is used for blocking notation.

In the technical column, I want my notes to be easy to move or change as the artistic staff makes changes on me. Because of this, I sometimes use my computer to print out my specific notes regarding each cue on plain paper. I can then cut the notes apart and use a Post-it glue stick to attach them to the blank page opposite the text. The Post-it glue sticks turn regular paper into homemade Post-it notes! It works great and I can move them around easily. Before we begin tech week, I will edit these same notes down to serve as my deck and rail/fly cue sheets.

For Into the Woods, I ended up combining the score with several script pages since a lot of the dialogue is not included in the score. I also pasted in some of the lines before the songs at the top of the sheet music. On the script pages I number the blocking moves as �1,� �2,� �3,� etc. I use the measure numbers to indicate the order of moves of the pages opposite the score. I highly recommend using the measure numbers in your blocking notation when working on a musical. It makes everything so much more specific and looks a lot less cluttered on the page.

Along the right hand edge of the blank page I will stick blue Post-it Tape Flags that indicate where a fast costume change takes place, the character(s) involved and which costume they will be changing into. For example, in Into the Woods, the Narrator and Mysterious Man were played by the same actor so he had several fast changes. A shorthand note for one of his changes might read �NA to MM DR.� When the costume crew arrives, I might add a note regarding who is assigned to assist the actor with the change, such as w/Judy.�

As for cueing, I am now writing the cue numbers on Post-it Tape Flags and Avery Color Coding Labels (I call them Garage Sale Dots) with the word, phrase or note I should call on indicated. Since I color code the different departments, it is not always necessary for me to indicate the type of cue before the number on the script pages. When entering the detailed notes on the facing pages, however, I use a shorthand system to indicate the departments. (LQ20 stands for Light Cue twenty, Spot 1 means Spotlight Cue one, SQ F indicates Sound Cue F, etc.)

For Into the Woods, I used yellow flags for all Standby�s and bright pink flags for deck/rail/revolve Go�s. I assigned neon green dots to sound cues, neon orange to light cues and neon red to spot cues. This system works pretty well because the cues really stand out on the page. I was also able to quickly move the cues around during tech without erasing. Anyone who has worked as a Stage Manager knows what a wonderful feeling that was! No more erasing holes in my script! Another wonderful bonus of this system is that I can read the script through the Tape Flags.

Most importantly, remember that whatever you feel is easiest to understand is the best method for you. Remember that if the SM gets hit by a bus on the way to the theatre, someone else must be able to pick up the calling text and understand how it is organized.

I know this may seem a bit overboard to some people, but it really does produce a clean and easy to read cueing text. I was extremely confident that any SM would have been able to walk into the booth and understand how to call the show from this book. Probably more confident than I had ever been with any other production book I had assembled at that point.

Some of the many office supplies I have found really useful to have on hand when preparing a production book are Post-it Tape Flags, neon garage sale dots, Post-It Correction and Cover-up Tape, page protectors, dry erase pens, grease pencils or permanent markers and the smallest size Post-it notes that you can find. I also always keep a big cube of Post-it�s at my station to make notes about any errors made in the running of the show. I slap them into the script as a reminder for the next rehearsal or performance. They catch my attention quite well.

I received several other really good suggestions over the mailing list. Some SM�s put their script/score pages into page protectors and then write on them with overhead projector pens. Others warned that the Vis-�-Vis type markers smear too easily and suggested using permanent markers which can be removed with rubbing alcohol. (I agree with the person who said it would be too tempting to use a bottle of vodka instead!) I think the best suggestion along this line was to use grease pencils. They are harder to smudge but not too hard to clean off. I thought this was a really good idea, but it also sounded pretty expensive. I personally didn�t want to invest that much money in assembling my book for a show that only runs for three weeks. I do definitely see the advantages of this method for a long running production, though.

Many SM�s swear by the little neon garage sale dots that I now use to mark light and sound cues. Some SM�s prefer to place the dots directly on the page to indicate a cue, while others use page protectors with them so that they are even easier to move around. One word of caution, if you use them directly on the script page they really should be �de-stickified� first by pressing them on your jeans! Otherwise they can tear up the script pages if you try to move them around. Again, personal preference dictates whether you will want to use different colors for your warnings, standby�s and go�s or color code by department.

Now that I have called a few shows using this method, I can see why so many SM�s were raving about the benefits of neon dots! I found that it made it much, much easier for me to keep my head out of my book and my eyes on the stage at all times. Instead of actually following the book, the cues can be read at a peripheral glance. I recommend picking a blue gel for your run light. Blue gels cause the neon dots to really glow. One other word of caution, though. The yellow and green garage sale dots look the same color under blue running lights.

I really do recommend that anyone who hasn�t called a show from a script assembled with neon dots consider trying this method. Especially if you often get notes from your designers to keep your head out of your book. It certainly broke my bad habit.

The Post-it Correction & Cover-up Tape is also very useful. It looks like a roll of tape but is really a roll of Post-it�s. It comes in three different sizes, up to one inch in width. You can tear off as much or as little as you need. (A word of advice: I had a hard time finding this product in my area. You will most likely have to buy it at an office supply store. When I tried our local office supply store I still couldn�t find it. I stood and stared at both the tape section and the Post-it notes section for several minutes before I gave up and asked an employee. He didn�t know what it was, but I eventually found it with the typewriter correction tape.)

Another really good suggestion I received was to type the cue notes into a word processing program, much like I am doing now. After the cues have been printed out, have the pages photocopied onto clear acetate with a sticky back. Then the notes may be cut apart and stuck into the production book at the appropriate points. (OK, so my method with the Post-it glue stick takes a little longer, but it is also a lot cheaper!)

Always keep in mind that there are as many methods of assembling Production Books as there are Stage Managers. Your Production Book will continue to grow each day of the rehearsal period. As the rehearsal process evolves, you will find a format that makes sense and works well for you.

Whichever system works best for you is the one that you should use. As long as you have documented everything clearly and included keys to any shorthand you use, another Stage Manager should be able to pick up your book and easily understand it if necessary.

�The Comfort Zone�

On the Stage Manager�s opening night, there are no costumes, no cues to call and usually no applause. Opening night for the Stage Manager is actually the first day of rehearsal. The mood that is set for this first rehearsal will determine the productivity, creativity and general atmosphere of every rehearsal which follows. It is the duty of the Stage Manager to create an atmosphere in which anything is possible. I often refer to this atmosphere as �The Comfort Zone.�

The two most important words of advice for a SM about to begin rehearsal for any production are, �Be prepared.� The best way to gain the trust of any company is to be able to quickly and efficiently deal with any situation which arises. Actors who trust their SM will also listen to their SM.

Many times, the quickest way to begin to establish The Comfort Zone is to become a magician. A Stage Manager who can reach into �The Kit� and produce any item that she is asked for is always appreciated by the company. The awe-struck look on an actor�s face when he asks for a cough drop and one appears in his hand is priceless. The following list is a rough inventory of a thoroughly stocked Stage Manager�s Kit:

Medical:

First Aid book, allergy medication, burn creme, iodine, latex gloves, Midol, sugar packets (for a diabetic emergency), Ipecac syrup (for poisoning), gauze, cloth tape, antiseptic towelettes, ammonia inhalants, isopropyl alcohol, hydrogen peroxide, bacitracin, Cortaid, sting-aid, aspirin, No Doz, medical scissors, tweezers, cotton, Ibuprofen, children�s pain reliever, Pepto-Bismol, Antacid, Orajel, sinus medication, Band-Aids, antacid, cough drops, pain reliever, throat spray, Epsom salts, eye drops, chemical ice packs, antihistamine, cottonballs and ace bandages.

Wardrobe:

Safety pins, hair bands, bobby pins, scissors, seam ripper, shoe laces, runstop, Shout wipes, thimble, beeswax, needles and thread.

Tools:

A C-wrench with a lanyard (leash), a Maglight with gels or tinted lenses, work gloves, hex key set (5/16� for Roto-Loks), screwdrivers, fencing pliers, a 50� tape measure, at least one 25� tape measure, a 12� tape measure, a scale ruler, matte knife, grease pencil, chalk, wood glue, tie line, various sizes of batteries (especially AA and 9V), Scotch tape, glow tape, gaff, electric and spike tape. I have recently discovered that a great tool to have is a small photo-flash with a "test" button. It's the most efficient way to charge glow tape!

Office Supplies:

3-hole punch, Post-It notes (a Stage Manager�s best friend), paperclips, pushpins, hole reinforcements, large erasers, highlighters, garage sale dots, Post-It Tape Flags, Post- It Tape, various colored ink pens, mounting tabs, a large black marker, rubber bands, binder clips, Post-It Glue Sticks, a stapler, staples, a staple remover, scissors, pencil grips, pencils and a pencil sharpener.

Courtesy & Entertainment Items:

Lighters, matches, nail files, nail clippers, Kleenex, breath mints, playing cards, travel size games, shaving cream, a razor, a tooth brush, toothpaste, mouthwash, Q-tips, eyeglass cleaner, a eyeglass repair kit, hand creme, wetnaps, a contact case, saline solution, coffee singles, tea bags, candy, clear nail polish, pantiliners and tampons.

I know Stage Managers who have carried around shoeboxes or plastic bags with the supplies they felt were important to their company members. Start with whatever you can afford and work towards assembling a comprehensive kit. Most production companies will be happy to reimburse you for the more expensive items if they are used up in rehearsal. Sometimes, if you provide a complete inventory of your Kit before you begin rehearsal, the producer will maintain it for you.

I never really understood the benefits of having a full-blown Stage Manager�s Kit until I saw one in use. While working as the Assistant Lighting Designer for a show in Branson, Missouri, I encountered a SM who had assembled a very thorough Kit. I was very impressed with it and decided that as soon as I could afford to, I would start my own Kit and do away with the pencil bags and handfulls of supplies stuffed into briefcases, backpacks and purses.

The first show that I worked after assembling my Kit was Run For Your Wife. I was the Deck Manager for this production at Indianapolis Civic Theatre. The main character, John, spends a great deal of the production running around with a bottle of pills in his pants pocket. The rattling of the prop was driving the actor crazy and he asked me if I could please find some cotton to stuff in the top of the bottle. I went to my Kit and handed him the requested item in just a few seconds. The look on his face was absolutely priceless, especially since this particular actor does a lot of stage managing himself. At that moment, I knew that my Kit was one of the best investments I had ever made.

With each show I do, I find new items that are useful to have on hand. The SM should make sure that the Kit is regularly inventoried and restocked. All the work that is required to create and maintain a Kit is well worth it. A thoroughly stocked Kit is the most useful tool a SM can have. When a company member is comfortable and confident in asking the SM for even the smallest item, The Comfort Zone has started to form.

There is one other vital note I�d like to share about The Comfort Zone. You should be willing to do anything to support your cast and crew. The Stage Manager doesn�t blame crew members for mistakes made in a performance. Instead, she takes responsibility for all mistakes made in the running of a show by ensuring that they will be corrected.

�I know what happened and it will be corrected,� is a phrase Stage Manager�s use a lot during tech week. A lengthy explanation of why something went wrong isn�t necessary unless the director/designer/etc. asks for a detailed description of what caused the problem to occur.

You should also be prepared to do things like hold an inhaler for a winded dancer who is about to come off stage or simply be prepared to hand off props even if an actor isn�t in a hurry. I once spent a day minding a towel and bucket for a nauseous dancer who was determined to perform. Thank goodness she never needed to use it, but she felt a little better just knowing I was prepared to care for her if she did get sick.

Another good example of how I helped to create and maintain the Comfort Zone would be a situation that occured during the Phoenix Theatre's production of Company.

One of our actors was epileptic and came to the director and myself and told us he was on new medications and was afraid he might have a seizure during rehearsal before his meds were regulated. He requested that we have a discussion with the cast about what would be likely to happen if he had a seizure and how to react if it did occur. I reminded him that I am certified by the Red Cross for both first aid and CPR. I assured him that I knew what to do and that we would talk with the rest of the company. The next day we had a short discussion during rehearsal to fill everyone else in on how to react if he did have a seizure.

I'm happy to say that the actor never had a seizure during the rehearsal process. I made sure to stress to him how glad I was that he had shared this information with us. I told him that about two and a half years prior to this, when I was stage managing a production of Peter Pan, a different actor hadn't informed anyone that he was diabetic and occasionally had seizures. He had a seizure during a performance and fell coming down a set of escape stairs. The crew wasn't prepared for this and didn't know how they could best help him. Unfortunately, they stuck something in his mouth to keep him from swallowing his tongue. THIS IS AN OLD WIVE'S TALE! IT IF PHYSICALLY IMPOSSIBLE TO SWALLOW YOUR OWN TONGUE! DO NOT DO THIS! All you will accomplish is cutting up the inside of the person's mouth and possibly getting yourself bit.

Another element of the Comfort Zone is keeping the rehearsal space a place that is "safe" for the cast to experiment in as the show grows and evolves. Most professional theatres I have worked in have a policy that no visitors will be allowed during rehearsals. It's important that the Stage Manager have the authority and ability to uphold such policies.

I recently had an actor inform me that his Thanksgiving guests would be stopping by the theatre and would watch rehearsal while waiting for him to be cut for the evening. I reminded him that according the the theatre's guidelines ouside guests are not permitted in the rehearsal space. (These guidelines are passed out and discussed at the first rehearsal for all productions.) I told him they would be welcome to wait in the lobby or to walk over to the coffee shop that is about a block from the theatre until rehearsal ended. He essentially told me he thought that it was a stupid policy.

Later, the guests arrived. I gave the actor about five minutes to see if he would explain to his guests that they were not invited to stay in the house. He did nothing. The other actors were making eyes at me to get these people out of the theatre. I nicely explained the situation to them and gave them directions to the coffee shop around the corner. They were quite amicable and asked me to let the actor know where they had gone.

The actor, however, was far from understanding. As his guests left the building, he announced he had to go to the bathroom. He left the stage with rehearsal still in progress and went to the dressing rooms. I could hear noises that sounded like he was either hitting something or throwing stuff backstage. A few minutes later he came back onstage, still obviously upset. We resumed rehearsal but he was "reading" instead of "acting" for the rest of the evening. It was quite obvious to everyone that he was upset. At the end of the night he made sure to mention to me that he'd be calling the Producer about "his rules."

Of course I called the Producer immediately myself and informed him of what had taken place. (Your boss should always hear about any such incidents from you first. You are the Producer's eyes and ears in the rehearsal space.) The Producer completely backed me up and thanked me for enforcing the theatre's policies.

So what's the moral of this little story? The SM isn't always going to be popular with everyone. You need to make the decision that is best for the production and if it upsets some people, so be it. And if you know you are in the right, don't let an artistic temper tantrum sway your judgement calls.

On the lighter side, indulge ceremonies or superstitions, such as a company prayer, circle or whatever the local MacBeth ritual happens to be, even if you don�t believe or participate. These are all little things that make the company feel �taken care of.�