Stage Managers Do Make Coffee

Calling the Show

Visual Cues:

A visual cue is when the Stage Manager is watching for something to happen onstage to trigger the call for the cue. Examples of visual cues include: when the actress is on the second step up from the deck, when the actor touches the light switch, etc. Sometimes a visual cue will be taken by the operator without the SM calling a �Go.�

Text Cues:

A text cue is when the SM is waiting for an actor to say a word or phrase in the text on which the cue will be called. This is often broken down so far that the SM might call a cue on a syllable.

Music Cues:

In the case of a musical cue, the Stage Manager is following the music or watching the conductor to trigger a cue. You could be listening for a change in the rhythm, the entrance of a particular instrument or simply watching the conductor for a downbeat. It is more important for a SM to be able to read basic rhythms than to actually be able to read the music note for note.

Timed Cues:

When calling timed cues, the SM is usually watching a stopwatch to time out a complicated sequence of events. I find that this method is often helpful in calling complex opening scenes.

Stay Focused:

It is just as important for the Stage Manager and crew to remain focused and keep their heads in the show at all times as it for the performers on stage to have focus. In many ways, it is more important because scene changes are not safe if the Stage Manager and crew are not focused on what they are doing. Because of this, it is important to keep unnecessary conversation backstage and on headsets to a minimum. When a mistake occurs, talking about what has happened over headset can often cause more mistakes or missed cues. Solve the problem and go on with the show. It can be discussed after the final curtain falls.

Eyes On-stage:

Keep your eyes on-stage because that is where all the action is taking place. The Stage Manager needs to know the show forwards and backwards before Tech Week starts. You should be able to turn the pages in your production book without even looking. In most cases, you have the best view of the stage. If your eyes are on-stage, you can recognize and correct problems more efficiently. Hopefully before they even occur. Your eyes must tell you if it is safe for the crew to execute a scene change or detonate a pyrotechnic. Before I learned this skill, I would get constant notes from my designers regarding cues that were called late because I wasn�t watching the stage. If you must call from backstage, insist that you have a full stage video monitor and, if at all possible, a conductor monitor.

Anticipation:

One of the hardest things to learn about calling cues is to anticipate the call. You must call a cue a split second before you want it to occur in order to give the operators time to react. Timing is everything, so as I said before, the SM must know the show like the back of her hand. Knowing the rhythm of the show is crucial. How does the director want the pacing to feel? You should also know where your cast tends to ad lib, change lines or occasionally get lost. (If possible, you should do your best to break them of these bad habits!)

Consistency:

As tech week progresses, you should begin to develop a consistent calling style and rhythm. Your crew members should be able to count on you warning them of an upcoming sequence at the same time during each performance. They should be able to anticipate the pause you insert between the words �Light Cue 38� and the word �Go.� You�ll know when you find that magic rhythm that drives the performance because everything will feel smooth and automatic. As William Hurt said in Broadcast News, when everything is really clicking it feels, �like great sex!�

Composure

No matter what happens on-stage, keep your cool. You must be able to make quick, level-headed decisions if something goes wrong. This is a very hard skill for many people to master. Unfortunately, the best way to learn to maintain your composure is to survive a few performance crises of your own. I�ve seen Captain Hook�s ship hit the proscenium, battens hit the deck, and scenery hit the actors. I�ve been told that the fire department is knocking at the dock door during a preview and that an actor is having a seizure in the wings. These experiences have toughened my skin and taught me to keep my cool.

Beginning Stage Manager�s often feel great anxiety the first time that they are asked to call a set of complicated cues. I have found that one effective way to fight off this anxiety is to keep a bottle of water at your station. A few moments before the series starts, take a drink, a deep breath and focus. Visualize the effects happening correctly in your mind�s eye.

It also helps some people to keep little stress toys at their stations, such as a Koosh ball or an IsoFlex balloon. One theatre I worked in had a collection of Happy Meal toys that past Stage Managers had left behind lining the booth windowsill. Just be careful that this kind of thing doesn�t become a distraction.

Calling the show is perhaps the most satisfying part of stage managing for me. I find calling a sequence of complex cues and seeing them executed well is exhilarating. I love the idea that I am helping to make magic for the audience. I take pride in making the performers look good and making the Director and Designers work come to life.

I always try to get my Thank You cards done before Opening Night and leave them at each performer�s dressing table or each crew person�s station. For the longest time I gave flowers to the cast on Opening Night. In the past few years, I have started to give balloons or candles instead. The day that a review or preview appears in the paper, I will post it on the callboard, leave a photocopy at each person�s station and leave a stack of them on the piano in the rehearsal room.

This is often the hardest time to remember that there should be no indication of favoritism on the Stage Manager�s part. Any gift or thank you note that comes from the SM should be distributed to each member of the cast or crew. Each person involved with the production should feel important and special because each person is part of the team needed to make the production work. If you would like to do something extra for a special friend involved with the show, do it privately.

Always remember that theatre people are highly superstitious. Wishing someone �good luck� before a performance is thought to bring them the exact opposite. Actors are told to �break a leg� and dancers are wished �merde� instead.

This is a good time for the Stage Managers to remind everyone involved with the production about some of the basic rules of backstage etiquette.

• Backstage guests must be escorted and announced.
• No visitors are permitted backstage after half-hour is called.
• Company members are not permitted in Front-of-House after half-hour is called.
• Respect the privacy and property of others.
• No unnecessary talking backstage.
• No food or drink backstage/on headset.
• Avoid eating, drinking or smoking in costume. If you cannot do so, wear a robe.
• Be aware of sightlines. If you can see the audience, they can see you. (Peaking through the main curtain is also not allowed!)
• Company members should never be seen offstage in makeup or costume.

Starting with the first Preview, the SM must be in constant communication with the Front of House staff. The FOH staff are all of the people who work out front of the Proscenium. They are the people who raise money for the theatre, sell the tickets, seat the patrons, market the show and keep the auditorium clean.

The first thing you should do each night is check in with the Box Office Manager and inquire about the number of patrons you are expecting. Know if there are any other events going on near your theatre that could make traffic congested or parking a hassle. This will allow you to project if the curtain will rise on time.

As the countdown to curtain progresses, the next step I take is to check in with each of my crew heads to make sure that they are set and there are no problems. At this point, I will ask for the curtain to be brought in and the lights to go to preset. If there is preshow music, the sound operator will be asked to start it now.

When I am satisfied that the stage is set, I will tell the House Manager that he may open the house. I then return backstage to call �Half hour, please. House is open.� (Note that the word �please� is part of the call!) At this time, the company will usually assemble in the rehearsal room to warm up. I will usually stay with them until they are ready to break up to focus and do their final preparations. At this point I will give them my last call, usually 20 to 15 minutes, and meet my crew at a designated spot. (Another important note: SM�s always seem to exaggerate about the actual time.)

The crew will touch base quickly, covering any notes from the previous show. With a few words of encouragement, they are all asked to report to their headsets. My ASM or DM will now start giving the cast calls as I go to make my final check with FOH. Upon receiving a go ahead from the Box Office Manager, I will take my place in the booth and do a crew roll call. Once all crew members are accounted for, I will ask the ASM or DM if we have places. If all of the actors needed to begin are present, the opening sequence of cues will be put on standby and I will start the show.

Opening Night brings the Stage Manager a huge list of new potential headaches. The cast often changes the pace of the show based on the audience reaction. Something that you never considered funny could get the biggest laugh of the evening. Your favorite bit in the show might not even earn a chuckle. The crew may also have problems hearing your instructions over the audience�s reactions. All of these things could affect the timing of many of your cues. Be prepared to ride this new wave of energy with the company.

Sometimes opening night nerves can prevent people from thinking all their tasks through. When I SM�d Singin� in the Rain I only had one crew person backstage to coordinate the shifts. The actual scene changes were being executed by the cast. On opening night, the actor who was assigned to run the rain pipe turned on the water without checking the safety valve. It rained during the �Good Morning� scene inside Don Lockwood�s house that night. We got the water turned off before they were totally soaked, but it was a horrible and dangerous mistake. If at all possible, avoid using chorus members as your deck crew, even if they are competent technicians. Cast members have too much to worry about to be saddled with crew responsibilities.

If you encounter a huge technical problem during a performance, the goal of the crew should be to keep the show running if it is possible (and safe) to do so. When I deck managed Run For Your Wife, the dimmers went into overtemp and we lost all stage light during Act II. The cast ad-libbed for a second as I calmly asked the SM if he would like me to bring up the work lights. After a few seconds of ne response, I said, �I�m bringing up the work lights now unless you say no,� and I threw all the worklight breakers. The SM kept his head on straight and continued to call the sound cues. We were unable to get the lighting system back up, so the cast finished the performance in work lights. The audience laughed and clapped just as hard at the end of the performance. The cast was impressed with how quickly the crew solved the problem.

Just remember, the show does not have to go on. If, for some reason, it is unsafe to continue, it is the Stage Manager�s responsibility to stop the performance. The cast and crew look to the SM team and trust their judgement regarding everyone�s safety. They will most likely go on with the show if you do not make the decision to stop.

Always remember, good or bad, that a review is only one person�s opinion. If a production receives a negative review, the best thing the Stage Manager can do is try to keep the company�s morale up. When a production receives an exceptionally good review, I do tend to engage in a little back patting.

When a good review is published, I like to call a crew meeting before the next performance. If any part of the review mentions the technical aspect of the show, I will usually read or quote it to the crew. Again, I will make sure that everyone receives a photocopy of the review. This crew meeting is basically a pep talk, reminding the crew that they are not only important, but essential to the smooth and successful run of the show. I emphasize that a good review of the production is impossible without a strong performance by the backstage crew.

The production of Into the Woods that I stage managed at Indianapolis Civic Theatre received a four star review. I couldn�t help patting my crew on the back for their enormous effort that allowed us to capture that rating. The critic actually said, �...no heavy scenery needs to be moved on or off. Everything flows like a river.�

The crew got a huge laugh out of the reviewer�s compliment at first. The carriage and houses actually weighed a ton. Rail crew members had to sprint for the deck every night to help get the carriage offstage. Then I explained, �you�re doing verything so well that it looks effortless. She basically didn�t even notice that the crew exhisted on such a huge, technically complicated show. We made magic.�

Sometimes a critic will make an uneducated comment that really does deserve a good laugh. I remember a production of Shakespeare�s The Tempest that I designed makeup for in college. The critic mentioned something akin to �the affected British accent� used by a certain actor. It just so happens that the actor was British. I believe someone did eventually write the newspaper to inform them of the error.

The Opening Night performance is often followed by a reception, a cast party or a late night trip to the local newspaper to grab the review hot off the press. Have fun and enjoy the show�s success, but don�t forget that everyone must be well-rested for another performance the next evening. Once the Opening Night butterflies have flown away and the company knows the show is going to be a success, there is always the danger of �Second Night Slump.� This possibility is only multiplied if everyone is exhausted from a long night of celebrating.