Job description: Stage Manager for Lunchtime shows

Owned by Karen Cook (Unlicensed)
Last updated: Feb 04, 2021 by Stephen Carr (Unlicensed)
7 min read

This document details some of the work generally performed by the stage manager of lunchtime shows. It is not a definitive document as the duties of a stage manager will always be influenced by the needs of the production.

 

Job description

Perhaps the most difficult role to describe, the stage manager is responsible for overseeing the running of rehearsals, technical rehearsals, and performances, and the planning that goes on around them. The stage manager is the central communication hub for all members of the production team, including the director, designers, technicians, performers, and front of house staff. Some duties of the stage manager include:

  • Preparing the rehearsal/performance space, by sweeping, mopping, tidying, and pre-setting set pieces.
  • Ensuring rehearsals, meetings, technical sessions and performances start and finish on time, that breaks are adhered to, and that all required personnel are present.
  • Creating the prompt script during rehearsal, and then using it to call or run the show.
  • Liaising between different departments to pass on information and ensure that deadlines are met.
  • Ensuring health and safety standards are upheld at all times.
  • Running technical and dress rehearsals.
  • Creating and distributing show reports.
  • Keeping the team motivated.


As soon as you are assigned to a production

  • Get a copy of the script (usually from the director, sometimes from Leigh). Read it at least twice, once to just get a sense of it, and again making a list of important technical matters.
  • Format the script into a prompt script.
  • Meet with the director and create or obtain the following:
    • A set plan or design. Use sketches or other visual references to make sure you are both on the same page. Make a list of the required set pieces. Ensure that the set can be bumped-in and out quickly for the Sunday night changeover.
    • A list of sound cues, paying particular attention to anything that will need to be created or recorded.
    • An indication of lighting requirements, if not a complete design.
    • A props list, to be amended by you as rehearsals progress. Start sourcing props straight away. It is a good idea to get standby (rehearsal) props as soon as possible, particularly if the final prop will be fragile or difficult to source.
    • A costume list, paying particular attention to anything that will need to be made. Establish with the director and cast who can supply which items.
    • The names and contact details of the cast and anyone else working on the production.
  • Create a rehearsal schedule in consultation with the director, once the availabilities of the cast are known. You should aim to be at as many rehearsals as possible.
  • Inform the director that you are handling the budget for the show, and that any spends should go through you.
  • Schedule a weekly production meeting with the director, designers and technicians. 


For each rehearsal session

  • Sweep and set up the rehearsal venue before rehearsals are due to commence.
  • Mark up the space, if not rehearsing in the performance space.
  • Ensure the rehearsal starts and finishes on time, and that breaks are adhered to.
  • Keep the prompt script up to date, recording any blocking and line cuts/changes.
  • Prompt the performers as required.
  • Create a rehearsal report and distribute it to cast and crew. This is the best way to communicate changes or additional information.
  • Sweep again and pack up afterwards.
  • Report any venue damage or accidents/injuries (including near misses) to the Production Coordinator immediately.


Three weeks prior to first performance

  • Create lists for all areas of the production, including costumes, set, props, lighting and sound. Include detailed information on each point, for example, from who you have borrowed the item.
  • Prepare a budget estimate.
  • Have a detailed set plan and know how the set can be bumped in and out for the Sunday night changeover. Meet with the Stage Managers of the productions before and after yours to discuss this.
  • Organise an area to store the props for your production.


Two weeks prior to first performance

  • Create a lighting plan.
  • Obtain all sound effects and put them into QLab.
  • Meet with the production manager to discuss the practicalities of your bump-in.
  • Source all costumes, label them, and store them in the female change room.
  • Have a cue meeting with the director, to mark cue points for lighting, sound, and any other technical elements.


One week prior to first performance (once your show is the next to go up)

  • Have your set ready and stored around the theatre. Make sure each item is clearly labelled.
  • Label and store your props in the crossover cupboard.
  • Rig, patch and focus your lights. You will need to rig alongside the current show’s lighting, or make plans to share with them. Create a patch sheet and focus notes.
  • Plot the lighting and sound.
  • Conduct technical rehearsals and dress rehearsals, beginning at least four days before the first performance


Running the performance

  • The stage must be swept prior to the half hour call.
  • Houselights and stair lights must be at full for the audience to enter and exit. At the conclusion of each performance, houselights and stair lights must immediately be brought to full to allow the audience to exit safely.
  • Once all pre-show checks have been carried out, all items are pre-set and the performers are in position, you need to give clearance to Front of House. This must happen at least five minutes before the scheduled start time.


After each performance

  • Strike the props and moveable parts of the set, leaving the space clear for other theatre users.
  • Power down all technical equipment and switch off lights.
  • Wash or maintain costumes if need be. There are laundry facilities and hand-sewing equipment in the female change room. No costumes are to leave the theatre once the season has started.
  • Ensure the dressing room, stage and auditorium are clean and tidy.
  • Complete a show report. Email the show reports to the production manager and crew as soon as possible after each show. Keep copies of the show reports in your prompt file.
  • Make sure any required actions (such as repairs) are completed immediately.

After the season (bump out)

You need to bump out your show immediately after the final performance. Inform the director, cast and crew that they are required to assist the full bump out.

  • Props are to be returned to the props store and stored neatly in the appropriate area.
  • Flats should be returned to the workshop, leaning against one wall only.
  • Lights not being used for the next show need to be de-rigged and unpatched, and stored in the technical store room. All gels must be filed correctly.
  • All personal items are to be taken away immediately.
  • To remove large items stored on-campus away from the theatre, liaise with the Production Coordinator one week before bump out.
  • Costumes are to be returned and washed. You will need to return the next day to complete this job. Once costumes are washed and dried, they can be signed back in.
  • Once cleared, the stage must be swept and mopped, and repainted if necessary.



GENERAL INFORMATION

1.       Booking spaces

This is done through Leigh Brennan in the Hayman Theatre office (302:107). Available rehearsal venues are, Theatre 1, Theatre 2 and the Dance Studio (205:125c). Maximum time is four hours in one day. Venues MUST be booked and access times strictly adhered to. Remember to factor in enough time to set up beforehand and tidy up afterwards.

2.       Maintaining security

The stage manager is responsible for the security of the building while it is in use after hours. Lock the door when you enter the building, and only let in people from your production. Do not open the door to anyone else, including other Hayman students, friends or family.

3.       Use of the budget

Each production has a budget of $80 only. You cannot be reimbursed for any extra expenditure. In most cases it should not be necessary to spend the full budget. The theatre has a comprehensive stock of set pieces, props and costumes, and anything else can most likely be borrowed from friends or family. Please check the theatre stock before going shopping. Larger purchases can be made using the Hayman credit card (see Stephen). For smaller cash purchases, keep all receipts and hand them to Leigh for reimbursement.

4.       Communication

As both theatres are a shared venue, you will need to be in constant communication with the stage managers of other shows, particularly the ones before and after yours. Wherever possible, you should share resources such as set pieces and lighting positions. If you feel that a fixed set piece from the current show needs to be removed to allow you to rehearse, you must contact the stage manager of that show, who must supervise the removal and return of the set piece. The stage manager of the current show has the right to refuse removal of the set.

5.       Production crew

All first year Theatre Arts students are required to do production hours. One way they can complete this is by providing at least eight hours’ production assistance for a show. There is no formal allocation of students to shows, so the best thing to do is meet the first years and invite them to work on your show. Make sure you have well organised and meaningful work for your crew. You will need to sign off their timecards after each shift.

6.       Painting

Check what paint is in stock, then see the Production Coordinator to purchase paint. Only water-based acrylic paint may be used (no oil-based paint, spray paint etc). If you use gloss paint on a pre-existing set piece, you will be required to sand and repaint the item with low-sheen or flat paint after use. All brushes, rollers and paint trays must be thoroughly washed out in the paint sink only (this will take at least half an hour). DO NOT leave things to soak. Any painting equipment not properly cared for will need to be replaced from your show’s budget. If painting on the stage, make sure to put down dropsheets and stay well away from anyone else’s set. You can also paint in the workshop. NO painting in carpeted areas.

7.       Furniture

There is a small stock of furniture and set pieces stored around campus, away from the theatre. To see or use any of these pieces, arrange a time with the Production Coordinator.

8.       Safety

Safety of staff, students and visitors must always be of the highest priority. No show is worth getting injured. Ensure you read and follow the Safe Working Procedure for all tasks before begin them (available on this wiki). If you have any concerns about your safety or the safety of others, speak to the Production Coordinator immediately. All accidents and injuries, including near misses, must be reported Hayman Theatre staff and official reported via Curtin's online incident reporting system. 

9.       General housekeeping

All areas should be left clean and tidy after use, and the stage swept. This is a matter of health and safety as well as respect for others. In the theatre, rubbish bins need to be placed outside the sliding stage door to be emptied. All props should be stored correctly and set pieces stored out of the way. Make sure you and your team remove all personal belongings before you leave.