| |
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| Introduction | |
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| The Professional Gap | |
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| |
| Learning the Hard Way | |
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| The Human and Psychological Side | |
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| |
| Objective and Intention of This Book | |
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| |
| The Chapters | |
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| |
| End of Chapter Features | |
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| |
| A Glossary of Words, Terms, Expressions, and Phrases | |
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| |
| A Definition of Professional | |
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| |
| The Distinguishing Line | |
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| |
| The Most Important Work | |
| |
| |
| The Musical Play | |
| |
| |
| Standard Stage Manager Titles and Their Abbreviations | |
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| |
| The ASM | |
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| |
| Women SMs | |
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| |
| A History of SMing | |
| |
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| The Professional Experience | |
| |
| |
| Interviews | |
| |
| |
| |
| The Anatomy of a Good Stage Manager | |
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| |
| The Practical Application | |
| |
| |
| The Qualities of a Good SM | |
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| |
| The Spirit of an SM | |
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| The Right Stuff | |
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| |
| Core of the Spirit | |
| |
| |
| A Need for Perfection | |
| |
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| Control | |
| |
| |
| Anatomy of the ASM | |
| |
| |
| Show Business: A Glamorous Business | |
| |
| |
| Interviews | |
| |
| |
| |
| The Stage Manager's Chain of Command List | |
| |
| |
| The Production Executives | |
| |
| |
| The Production Office Staff | |
| |
| |
| The Creators | |
| |
| |
| The Production Staff | |
| |
| |
| The Performing Artists and Actor's Equity | |
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| The Technical Staff: Designers, Department Heads, Their Assistants, and Crewmembers | |
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| |
| The Shops and Vendors | |
| |
| |
| The Theatre, Performance Site, or Venue | |
| |
| |
| In Review | |
| |
| |
| |
| Stage Manager for Hire: Seeking Work, Getting the Job, and Being Hired Again and Again | |
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| |
| Networking | |
| |
| |
| Building a Resume | |
| |
| |
| Presentation of the Resume | |
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| The Layout | |
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| The Credits | |
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| One-Page Resumes | |
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| Slanting the Resume and Additional Credit Headings | |
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| Repetitive Credits | |
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| Absence of Dates | |
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| Further Experience | |
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| References | |
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| |
| Optional Information | |
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| |
| Establishing a Good Reputation | |
| |
| |
| Good Word-of-Mouth | |
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| |
| Interviewing for the Job | |
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| |
| Gut Feeling | |
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| Controlling the Interview and the Outcome | |
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| |
| Wanting the Job | |
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| First Impressions | |
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| |
| Dressing the Part | |
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| |
| The Chit-Chat Part of the Interview | |
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| |
| The Other Side of Interviewing | |
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| |
| The Most Difficult Parts of Interviewing | |
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| |
| Getting an Equity Card | |
| |
| |
| Persistence, Paying Dues, Doing Your Best | |
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| |
| The Terms of the Contract | |
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| |
| Negotiating | |
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| Personal Financial Planning, Budgeting, and Support for the SM | |
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| |
| Unemployment Insurance Benefits | |
| |
| |
| The SM's Survival Kit | |
| |
| |
| The Professional Experience | |
| |
| |
| Proud to Join the Ranks | |
| |
| |
| The Terminator Negotiator | |
| |
| |
| That Gut Feeling | |
| |
| |
| Interviews | |
| |
| |
| |
| Tools, Supplies, and Equipment | |
| |
| |
| The SM's Portable Office | |
| |
| |
| The SM's Console | |
| |
| |
| The SM's Bag | |
| |
| |
| The SM's Box | |
| |
| |
| The SM's Filing System | |
| |
| |
| Other Items in the SM's Box | |
| |
| |
| Today's Stage Manager | |
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| |
| Electronic Equipment | |
| |
| |
| Software | |
| |
| |
| In Transition | |
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| |
| The Professional Experience | |
| |
| |
| The Well-Supplied SM | |
| |
| |
| Log Book: Star Witness | |
| |
| |
| |
| Hard Copy: Charts, Plots, Plans, and Lists | |
| |
| |
| Forms Defined | |
| |
| |
| The Scene/Character Tracking Chart | |
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| |
| Our Imaginary Play | |
| |
| |
| Beginning the Scene/Character Tracking Chart | |
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| |
| A Refinement | |
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| |
| The Heading | |
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| |
| Breaking Down the Play by Scenes | |
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| |
| Subdivision of Scenes, or French Scenes | |
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| |
| Naming or Tagging a Scene | |
| |
| |
| The Character/Actor-Actor/Character List | |
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| |
| The Sign-in Sheet | |
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| |
| The Rehearsal Sign-in Sheet and Performance Sign-in Sheet | |
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| |
| Listing the Actors' Names on the Sign-in Sheet | |
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| |
| The Day Off While in Rehearsals | |
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| |
| The Performance Sign-in Sheet | |
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| |
| Matinee Performances | |
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| |
| The Day Off When in Performance | |
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| |
| Address Lists and Contact Sheet | |
| |
| |
| The Cast Address List and Staff Address List | |
| |
| |
| The Contact Sheet | |
| |
| |
| Schedules | |
| |
| |
| The Block Calendar | |
| |
| |
| The Daily Schedule | |
| |
| |
| The SM's Personal Floor Plans | |
| |
| |
| Starting with the Blueprints | |
| |
| |
| SMs' Knowledge of the Set | |
| |
| |
| From Blueprints to the Personal Floor Plans | |
| |
| |
| Computer-Generated Floor Plans | |
| |
| |
| The SM's Personal Floor Plans for Annie Get Your Gun | |
| |
| |
| The Hello Jerry Personal Floor Plans | |
| |
| |
| Personal Floor Plans for the One-Set Comedy, John and Mary | |
| |
| |
| Lists | |
| |
| |
| The Schedule Reminder List | |
| |
| |
| Industry Phone Numbers List | |
| |
| |
| The Correct Spelling of Names List | |
| |
| |
| The Prop List | |
| |
| |
| Sound Lists | |
| |
| |
| Body Mic Tracking Chart | |
| |
| |
| Dressing Room Assignments List | |
| |
| |
| Show Rundown or Running Order | |
| |
| |
| Performance Running-Time Chart | |
| |
| |
| Show Reports | |
| |
| |
| Changes and Revisions | |
| |
| |
| Hard Copy for Which the SM Is Not Responsible | |
| |
| |
| In Closing | |
| |
| |
| |
| Profiles and Working Relationships | |
| |
| |
| First and Foremost | |
| |
| |
| A Starting Point | |
| |
| |
| Turning Inward | |
| |
| |
| The Three Parts of the Inner Self | |
| |
| |
| Personal Belief Systems | |
| |
| |
| Making Personal Change | |
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| |
| The Spiritual Self | |
| |
| |
| Anger and Fear | |
| |
| |
| A Lifetime Work-in-Progress | |
| |
| |
| Ego | |
| |
| |
| The SM's Ego | |
| |
| |
| Working with Ego | |
| |
| |
| The Issue of Control and Perfection | |
| |
| |
| Dealing with Disagreement, Conflict, Confrontation | |
| |
| |
| "You" Versus "I" | |
| |
| |
| The Art of Listening | |
| |
| |
| Bringing Closure | |
| |
| |
| Setting Limits, Boundaries, and Expectations | |
| |
| |
| The Power and Position of an SM | |
| |
| |
| Profiles: Superiors, Peers, and Associates | |
| |
| |
| Producer | |
| |
| |
| Founder, General Manager, Executive Producer | |
| |
| |
| Associate Producer | |
| |
| |
| Company Manager | |
| |
| |
| Production Secretary | |
| |
| |
| Casting Director | |
| |
| |
| Publicity: Press, Programs, and Photography | |
| |
| |
| Office Staff | |
| |
| |
| Author, Composer, and Lyricist | |
| |
| |
| Director | |
| |
| |
| Assistant Director | |
| |
| |
| Music Director | |
| |
| |
| Rehearsal Pianist | |
| |
| |
| The Music Arrangers: Vocal, Dance, Orchestration, and Copyist | |
| |
| |
| Choreographer | |
| |
| |
| Dance Captain and Swing Dancer | |
| |
| |
| Performers | |
| |
| |
| Children Performers | |
| |
| |
| Actor's Equity | |
| |
| |
| Designers | |
| |
| |
| Technicians | |
| |
| |
| Technical Director (TD) | |
| |
| |
| Head Carpenter | |
| |
| |
| Head Flyman or Head of the Rail | |
| |
| |
| Head of Props (Propman, Prop Master, or Property Master) | |
| |
| |
| The Electrical Department (Lighting) | |
| |
| |
| The Sound Department and Head of Sound | |
| |
| |
| I.A.T.S.E.: The Stagehand's Union | |
| |
| |
| Costume/Wardrobe Department | |
| |
| |
| The Hair Department | |
| |
| |
| Shops and Vendors | |
| |
| |
| The Performance Site and Their Personnel | |
| |
| |
| In Closing | |
| |
| |
| The Professional Experience | |
| |
| |
| Personal Beliefs | |
| |
| |
| A Central Dance Figure | |
| |
| |
| Star Power | |
| |
| |
| Baby June's Mom: Mamma Rose | |
| |
| |
| Maintaining Artistic Integrity | |
| |
| |
| Electrical Storm | |
| |
| |
| |
| Running Auditions | |
| |
| |
| The Equity Field Representative | |
| |
| |
| The Auditioning Staff | |
| |
| |
| Types of Audition Calls | |
| |
| |
| The Open Call or Cattle Call | |
| |
| |
| Auditioning by Appointment | |
| |
| |
| Auditions for Musicals | |
| |
| |
| Singing Auditions for a Role | |
| |
| |
| Ensemble Auditions | |
| |
| |
| Star and Lead Role Auditions | |
| |
| |
| Actors' Representatives | |
| |
| |
| Auditions for the Non-Equity Actor | |
| |
| |
| Preparing for the Auditions | |
| |
| |
| Becoming Familiar with the Script | |
| |
| |
| Communicating with the Audition Site | |
| |
| |
| Office Supplies | |
| |
| |
| Directional Signs | |
| |
| |
| Audition Instruction Sheet | |
| |
| |
| The Audition Sign-in Sheet | |
| |
| |
| Choosing Scenes for the Audition | |
| |
| |
| The Audition Space | |
| |
| |
| Dividing the Audition Space | |
| |
| |
| Setting Up the Reception Area | |
| |
| |
| The Sign-in Table | |
| |
| |
| Seating | |
| |
| |
| Toilet Facilities and Drinking Water | |
| |
| |
| Setting Up the Audition Area | |
| |
| |
| The Setup in a Theatre | |
| |
| |
| The Setup in an Audition Room | |
| |
| |
| Quiet Please! Audition in Progress | |
| |
| |
| The SM's Art and Craft in Working the Audition Room | |
| |
| |
| Serving the Actors | |
| |
| |
| Reading the Scenes with Actors | |
| |
| |
| Bringing Closure to the Audition | |
| |
| |
| Your Best Sixteen Bars | |
| |
| |
| A Second Time Around | |
| |
| |
| SM as Time Keeper | |
| |
| |
| Callback Auditions | |
| |
| |
| Actors Getting a Callback | |
| |
| |
| The Spirit of Callback Auditions | |
| |
| |
| Working the Callback Auditions | |
| |
| |
| SMs Conducting the First Auditions | |
| |
| |
| You Got the Job! | |
| |
| |
| The SM's Expressed Opinion | |
| |
| |
| In Closing | |
| |
| |
| The Professional Experience | |
| |
| |
| An Epic Audition | |
| |
| |
| Serving the Director's Audition Needs | |
| |
| |
| |
| The SM's Production Week | |
| |
| |
| Homework | |
| |
| |
| At the Production Office | |
| |
| |
| On the First Day | |
| |
| |
| The Block Calendar | |
| |
| |
| Key Information | |
| |
| |
| Under the SM's Watchful Eyes | |
| |
| |
| Production Meeting | |
| |
| |
| Making Phone Calls and Creating the Address Lists | |
| |
| |
| Personal Contact | |
| |
| |
| Information Needed | |
| |
| |
| Applying the Art of Listening | |
| |
| |
| The Contact Sheet | |
| |
| |
| Contacting the Equity Field Representative | |
| |
| |
| Settling in to a Calmer Pace | |
| |
| |
| The Scene/Character Tracking Chart | |
| |
| |
| Character/Actor-Actor/Character List | |
| |
| |
| The SM's Personal Floor Plans | |
| |
| |
| Completing the List of Hard Copy Work | |
| |
| |
| Assembling and Distributing Packets of Information | |
| |
| |
| Revisions of Information | |
| |
| |
| Scripts | |
| |
| |
| Distribution of Scripts | |
| |
| |
| Script Copying | |
| |
| |
| The Paperback Play Book | |
| |
| |
| Finishing the Production Week | |
| |
| |
| Rehearsal Rooms | |
| |
| |
| Taping the Rehearsal Room Floor | |
| |
| |
| Rehearsal Props and Furniture | |
| |
| |
| The Equity Callboard | |
| |
| |
| The Finishing Touches on the Rehearsal Room | |
| |
| |
| In Closing | |
| |
| |
| The Professional Experience | |
| |
| |
| Fritzie: A Lasting Impression | |
| |
| |
| |
| Rehearsals | |
| |
| |
| The First Day of Rehearsals | |
| |
| |
| The First Day Rehearsal Hall Setup | |
| |
| |
| Setting Up for Equity | |
| |
| |
| Setting Up the Social Amenities | |
| |
| |
| Additional Setup | |
| |
| |
| Arrival of the Cast | |
| |
| |
| The Equity Business Hour | |
| |
| |
| The Equity Business to Be Done | |
| |
| |
| Attendance at the Equity Hour | |
| |
| |
| The SM's Formal Welcome | |
| |
| |
| Costume Measurements | |
| |
| |
| Eight-by-Ten Glossies and Brief Biographies | |
| |
| |
| Enter the Producer, Director, and Star | |
| |
| |
| Reading the Play | |
| |
| |
| Breaks for the Cast | |
| |
| |
| The Director and Breaks | |
| |
| |
| The Stopwatch | |
| |
| |
| The Mid-Day Meal Break | |
| |
| |
| After Mid-Day Break | |
| |
| |
| More on the Director and SM's Working Relationship | |
| |
| |
| A Nightmare SM-Director Relationship | |
| |
| |
| What Directors Expect from Their SMs | |
| |
| |
| The Director's Rehearsal Time | |
| |
| |
| Breaking into the Director's Creative Process | |
| |
| |
| The SM's Notepad | |
| |
| |
| Making the Daily Schedule | |
| |
| |
| Creation of the Daily Schedule | |
| |
| |
| Distribution of the Daily Schedule | |
| |
| |
| Working in Realistic Time | |
| |
| |
| Poor Use of Time | |
| |
| |
| Considering the Actors in the Schedule | |
| |
| |
| Dealing with People Being Late | |
| |
| |
| Late Actors | |
| |
| |
| Late Director or Stars | |
| |
| |
| The Equity Rulebook | |
| |
| |
| The Day's End | |
| |
| |
| The End of the Day for the SM | |
| |
| |
| Production Meetings | |
| |
| |
| The Work Continues | |
| |
| |
| |
| The Rehearsal Script | |
| |
| |
| Learning the Show and Gathering Information | |
| |
| |
| Set Design | |
| |
| |
| Costumes | |
| |
| |
| Music | |
| |
| |
| Blocking | |
| |
| |
| A Definition of Blocking | |
| |
| |
| Personal Blocking | |
| |
| |
| Famous Blocking | |
| |
| |
| The SM's Responsibility for Noting Blocking | |
| |
| |
| The Speed Required for Making Blocking Notes | |
| |
| |
| The SM's Shorthand | |
| |
| |
| Knowing Your Right from Your Left | |
| |
| |
| The Stage Breakdown | |
| |
| |
| The Center Stage Line | |
| |
| |
| Up Stage and Down Stage | |
| |
| |
| The Apron | |
| |
| |
| Greater Division of the Stage | |
| |
| |
| Additional Reference Points | |
| |
| |
| The Complete Stage Breakdown Picture | |
| |
| |
| Arena Staging | |
| |
| |
| Additional Abbreviations for Noting Blocking | |
| |
| |
| Abbreviations for Character Names | |
| |
| |
| Moving Symbols | |
| |
| |
| Arrows | |
| |
| |
| Some General SM Abbreviations | |
| |
| |
| Noting Blocking for Busy Scenes | |
| |
| |
| The Absence of Some Blocking Details | |
| |
| |
| Neat Blocking Notes | |
| |
| |
| The Numerical Way to Note Blocking | |
| |
| |
| The Publisher's Printed Stage Directions and Technical Effects | |
| |
| |
| Organizing the Rehearsal/Blocking Script | |
| |
| |
| Tabbing the Scenes | |
| |
| |
| Inserting the SM's Personal Floor Plans | |
| |
| |
| Script Changes | |
| |
| |
| Following Script | |
| |
| |
| Following Script for the Director | |
| |
| |
| Following Script for the Actors | |
| |
| |
| Calling Out Lines | |
| |
| |
| Calling Technical Cues in Rehearsals | |
| |
| |
| The SM's Delivery Technique | |
| |
| |
| Timing Scenes, Acts, and the Whole Show | |
| |
| |
| Props | |
| |
| |
| Detailing the Props | |
| |
| |
| Red Flag Props | |
| |
| |
| The Metamorphosis of the Prop List | |
| |
| |
| In Closing | |
| |
| |
| |
| The Last Week of Rehearsals | |
| |
| |
| The Shift in Work | |
| |
| |
| Meetings | |
| |
| |
| Lighting Meeting | |
| |
| |
| Set Moves/Scene Changes Meeting (Paper Tech) | |
| |
| |
| Sound Cues Meeting | |
| |
| |
| Costumes/Wardrobe and Hair Meetings | |
| |
| |
| Meeting with the Music Department | |
| |
| |
| Set Designer/Construction Shop Meetings | |
| |
| |
| Advice to the SM | |
| |
| |
| The ASM | |
| |
| |
| Birth of the Cueing or Calling Script | |
| |
| |
| Run-Throughs of the Show | |
| |
| |
| The Director's Obligation to Have Run-Thrus | |
| |
| |
| The SM's Contributions to the Run-Thrus | |
| |
| |
| Invited Guests for Run-Thrus | |
| |
| |
| Preparing the Cast for the Changeover | |
| |
| |
| Supplementary Rehearsal Space | |
| |
| |
| Closing Out the Rehearsal Hall | |
| |
| |
| |
| The Cueing Script | |
| |
| |
| The SM's Master Plan or Conducting Score | |
| |
| |
| Preparing the Cueing Script | |
| |
| |
| Manuscript Size | |
| |
| |
| Cutting and Pasting Ends of Scenes | |
| |
| |
| Everyone Working from the Same Script | |
| |
| |
| Tabbing the Cueing Script | |
| |
| |
| Cue Gathering | |
| |
| |
| Noting the Cues | |
| |
| |
| Electric Cues | |
| |
| |
| Abbreviations for Noting Cues | |
| |
| |
| Color Coding | |
| |
| |
| Practical Application in Noting Cues | |
| |
| |
| The Caret | |
| |
| |
| Making Changes and Refining Timing | |
| |
| |
| Color Coding Figure 13-2 | |
| |
| |
| Point Cues | |
| |
| |
| Boxed Information | |
| |
| |
| Key Notes in Parentheses | |
| |
| |
| Bracketed Cues | |
| |
| |
| The Rail Cue | |
| |
| |
| Cues Cut from the Show | |
| |
| |
| A Group of Cues | |
| |
| |
| Noting Spotlight Cues | |
| |
| |
| A Complicated Sequence or Grouping of Cues | |
| |
| |
| Color Coding Figure 13-6 | |
| |
| |
| A Granddaddy Cue Sequence | |
| |
| |
| Color Coding Figure 13-7 | |
| |
| |
| Noting WARN: Cues | |
| |
| |
| Noting Cues for the Opening of the Show | |
| |
| |
| Thirty Minutes Before Show Time | |
| |
| |
| Noting the Half-Hour Call in the Cueing Script | |
| |
| |
| Head Count | |
| |
| |
| Putting in the First Set of WARN:s | |
| |
| |
| Pre-Show | |
| |
| |
| Example | |
| |
| |
| Mastering Figure 13-10 | |
| |
| |
| Calling the Cues | |
| |
| |
| Reaction Time | |
| |
| |
| Feeling at Home at the SM's Console | |
| |
| |
| Three Parts to Calling Cues | |
| |
| |
| Calling Spotlight Cues | |
| |
| |
| QUICK, Turn Page, More Cues | |
| |
| |
| Calling Cues with Clarity | |
| |
| |
| The SM's Pattern and Rhythm | |
| |
| |
| Vocal Inflection | |
| |
| |
| Watching the Stage | |
| |
| |
| Tight and Flowing | |
| |
| |
| Visualizing Scene Changes and Transitions | |
| |
| |
| Giving Hand Cues | |
| |
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| Working in a Congenial, Pleasant, and Businesslike Manner | |
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| In Closing | |
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| The Professional Experience | |
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| Lost and Never Found: An SM's Nightmare | |
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| Technical Rehearsals | |
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| The PSM and ASM | |
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| No Rest for the SM | |
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| The Cast's Work Schedule | |
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| The Nature of Technical Rehearsals | |
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| The SM Entering Techs | |
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| The SM's Work in Techs | |
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| First Business of the Day | |
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| The Company Callboard | |
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| Directional Signs | |
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| No Let Up for the SM | |
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| The SM's Second Day of Techs | |
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| The SM's Psychology of Good Timing | |
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| Grey Responsibilities | |
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| In the Line of Fire, Magnified | |
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| The Crew's Expectations of the SM | |
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| Cast and Crew Coming Together | |
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| Preventative Measures | |
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| The SM Sets the Example | |
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| The Daily Tech Schedule | |
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| Division of Labor | |
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| The Working Relationships of Techs | |
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| The SM | |
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| The Director | |
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| The SM, Producer, and Director | |
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| The Cast | |
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| The Crew | |
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| Let the Techs Begin | |
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| The Heart of Techs | |
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| Laying In Spike Marks | |
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| Changes and Cleaning Up the Cueing Script | |
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| The Next Phase of Techs | |
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| Actors' Entrances | |
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| Nipping It in the Bud | |
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| Timing the Show, or the Running Time | |
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| Show Rundown Sheets | |
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| Dry Techs | |
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| Scenery Plot and Fly Plot | |
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| Checking Sight Lines | |
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| The Blue Work Lights | |
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| Crucial Cues | |
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| Costumes, Hair, and Makeup | |
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| Musicals: The Orchestra | |
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| Scheduling the Orchestra | |
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| Rehearsal Space for the Orchestra | |
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| The SM's Responsibility for the Orchestra Rehearsal | |
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| Before the Arrival of the Fire Marshal | |
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| The Fire Marshal's Arrival | |
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| Another Grey Responsibility | |
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| The Final Phase of Techs | |
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| Collecting and Returning Valuables | |
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| Techs Continue | |
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| Performance Level | |
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| The Director Giving Notes | |
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| Important Information for the SM | |
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| Performance Show Reports | |
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| Detailed Timing Forms | |
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| Production Photos or Videos | |
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| News Coverage and Interviews | |
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| Piano Tuning | |
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| More on the SM's Working Relationships | |
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| A New Beginning | |
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| The Professional Experience: An SM Overwhelmed | |
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| Opening Performance | |
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| The Event of an Opening Performance | |
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| Hellish Openings | |
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| The Supreme Power and Rights of the SM | |
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| One Voice | |
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| Curtain Bows | |
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| Last Minute Cue Noting | |
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| Encore Bows | |
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| Arrival of Congratulatory Items | |
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| Working the PA System | |
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| The Half-Hour Call | |
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| Use of the Terms Company and Cast | |
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| Repetitive Information | |
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| Giving Notes, Instructions, or Directions to the Cast | |
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| Half-Hour: The Cast's Time | |
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| The Fifteen-Minute Call | |
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| For SMs' Use Only | |
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| The Five-Minute Call | |
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| Prompt and Consistent | |
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| Applause and Acknowledgment | |
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| Curtain UP! | |
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| The Professional Experience | |
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| The Scarlet Primper-Nell | |
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| Run of the Show | |
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| Reviews and Ticket Sales | |
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| A New Show | |
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| A Shift in Work | |
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| The Show is Frozen | |
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| Company Manager and SM Left in Charge | |
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| The SM's Work and Responsibilities | |
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| The SM's Log Book | |
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| Sample Entries in a Log Book | |
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| Actor Changes and Improvements | |
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| Knowing Acting and Directing | |
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| Giving Actors Performance Notes | |
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| Varying Performances | |
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| The SM's Transition in Giving Performance Notes | |
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| Giving Stars Performance Notes | |
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| Delivering Other People's Performance Notes | |
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| A Final Step: Follow-Up | |
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| The ASM Takes Stage | |
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| The ASM Prepares | |
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| The ASM's Working Disadvantage | |
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| Show Insurance: The Show Must Go On | |
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| Updating the Blocking | |
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| Days Off and Matinee Days | |
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| Matinee Performances | |
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| Rehearsals During the Run of the Show | |
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| Brush-Up Rehearsals | |
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| Line Rehearsals | |
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| Understudy Rehearsals | |
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| Stand-By Performers | |
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| Replacement Performers | |
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| Prompting or Feeding Actors Lines | |
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| Creating Close Friendships | |
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| The Professional Experience | |
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| Star Power: Box Office Power | |
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| Walking in Elephant's Shoes | |
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| The Reluctant Star Understudy | |
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| The Touring Show | |
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| Types of Touring Shows | |
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| Equity Care | |
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| The Company Manager, Touring Manager, and SM | |
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| The Wear and Tear of Touring | |
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| The Road Crew | |
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| The SMs | |
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| The Actors | |
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| The Parts and Phases of Touring | |
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| Closing Out the Show and Packing | |
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| Traveling | |
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| Setting Up and Being Ready for the First Performance | |
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| Additional Work for the Touring SM | |
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| Spike Marks and Taping | |
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| Additional Conversation with the FOH | |
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| Focusing the Show Lights | |
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| Spotlight Cues | |
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| Local Actors | |
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| Another SM Myth | |
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| On the Road Relationships and Behavior | |
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| Living Together | |
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| The Actors | |
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| The Crew | |
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| Cast and Crew | |
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| The SM | |
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| The Performance on the Road | |
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| The Professional Experience | |
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| On the Road with a Major Musical, by Anne Sullivan | |
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| Closing the Show | |
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| The Closing Notice | |
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| Feelings | |
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| The SM's Obligation to the End | |
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| A Final SM Myth | |
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| The Silent Preparations | |
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| The SM's Preparatory Work | |
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| The Production Book | |
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| State of the Production Book | |
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| The SM's Personal Library | |
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| The Cueing Script | |
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| The Blocking Script | |
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| Much to Do About Nothing | |
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| A Production Book for the Director? | |
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| The Log Book | |
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| The Final Address List | |
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| Collecting Scripts | |
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| Personal Props | |
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| The Last Performance | |
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| The Equity Bond | |
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| Departure and Goodbyes | |
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| The Professional Experience | |
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| In the Line of Fire | |
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| Glossary: The SM's Working Vocabulary | |
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| Index | |