Stage Manager The Professional Experience

ISBN-10: 0240804104

ISBN-13: 9780240804101

Edition: 2000

Authors: Larry Fazio

List price: $68.95 Buy it from $7.37
eBook available
This item qualifies for FREE shipping

*A minimum purchase of $35 is required. Shipping is provided via FedEx SmartPost® and FedEx Express Saver®. Average delivery time is 1 – 5 business days, but is not guaranteed in that timeframe. Also allow 1 - 2 days for processing. Free shipping is eligible only in the continental United States and excludes Hawaii, Alaska and Puerto Rico. FedEx service marks used by permission."Marketplace" orders are not eligible for free or discounted shipping.

30 day, 100% satisfaction guarantee

If an item you ordered from TextbookRush does not meet your expectations due to an error on our part, simply fill out a return request and then return it by mail within 30 days of ordering it for a full refund of item cost.

Learn more about our returns policy


This volume covers all aspects of the craft of stage management, with an extensive discussion of what makes a good stage manager. It takes the reader through each phase of a production and includes interviews with stage managers.
New Starting from $79.50
eBooks Starting from $27.58
Rent eBooks
Buy eBooks
what's this?
Rush Rewards U
Members Receive:
You have reached 400 XP and carrot coins. That is the daily max!
Study Briefs

Limited time offer: Get the first one free! (?)

All the information you need in one place! Each Study Brief is a summary of one specific subject; facts, figures, and explanations to help you learn faster.

Add to cart
Study Briefs
Periodic Table Online content $4.95 $1.99
Add to cart
Study Briefs
Business Ethics Online content $4.95 $1.99
Add to cart
Study Briefs
Business Law Online content $4.95 $1.99
Customers also bought

Book details

List price: $68.95
Copyright year: 2000
Publisher: Taylor & Francis Group
Publication date: 7/21/2000
Binding: Paperback
Pages: 400
Size: 8.50" wide x 11.00" long x 0.75" tall
Weight: 1.936
Language: English

The Professional Gap
Learning the Hard Way
The Human and Psychological Side
Objective and Intention of This Book
The Chapters
End of Chapter Features
A Glossary of Words, Terms, Expressions, and Phrases
A Definition of Professional
The Distinguishing Line
The Most Important Work
The Musical Play
Standard Stage Manager Titles and Their Abbreviations
Women SMs
A History of SMing
The Professional Experience
The Anatomy of a Good Stage Manager
The Practical Application
The Qualities of a Good SM
The Spirit of an SM
The Right Stuff
Core of the Spirit
A Need for Perfection
Anatomy of the ASM
Show Business: A Glamorous Business
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
The Technical Staff: Designers, Department Heads, Their Assistants, and Crewmembers
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
Building a Resume
Presentation of the Resume
The Layout
The Credits
One-Page Resumes
Slanting the Resume and Additional Credit Headings
Repetitive Credits
Absence of Dates
Further Experience
Optional Information
Establishing a Good Reputation
Good Word-of-Mouth
Interviewing for the Job
Gut Feeling
Controlling the Interview and the Outcome
Wanting the Job
First Impressions
Dressing the Part
The Chit-Chat Part of the Interview
The Other Side of Interviewing
The Most Difficult Parts of Interviewing
Getting an Equity Card
Persistence, Paying Dues, Doing Your Best
The Terms of the Contract
Personal Financial Planning, Budgeting, and Support for the SM
Unemployment Insurance Benefits
The SM's Survival Kit
The Professional Experience
Proud to Join the Ranks
The Terminator Negotiator
That Gut Feeling
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
Electronic Equipment
In Transition
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
Our Imaginary Play
Beginning the Scene/Character Tracking Chart
A Refinement
The Heading
Breaking Down the Play by Scenes
Subdivision of Scenes, or French Scenes
Naming or Tagging a Scene
The Character/Actor-Actor/Character List
The Sign-in Sheet
The Rehearsal Sign-in Sheet and Performance Sign-in Sheet
Listing the Actors' Names on the Sign-in Sheet
The Day Off While in Rehearsals
The Performance Sign-in Sheet
Matinee Performances
The Day Off When in Performance
Address Lists and Contact Sheet
The Cast Address List and Staff Address List
The Contact Sheet
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
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
The Spiritual Self
Anger and Fear
A Lifetime Work-in-Progress
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
Founder, General Manager, Executive Producer
Associate Producer
Company Manager
Production Secretary
Casting Director
Publicity: Press, Programs, and Photography
Office Staff
Author, Composer, and Lyricist
Assistant Director
Music Director
Rehearsal Pianist
The Music Arrangers: Vocal, Dance, Orchestration, and Copyist
Dance Captain and Swing Dancer
Children Performers
Actor's Equity
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
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
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
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
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
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
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
Detailing the Props
Red Flag Props
The Metamorphosis of the Prop List
In Closing
The Last Week of Rehearsals
The Shift in Work
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
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
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
Working in a Congenial, Pleasant, and Businesslike Manner
In Closing
The Professional Experience
Lost and Never Found: An SM's Nightmare
Technical Rehearsals
The PSM and ASM
No Rest for the SM
The Cast's Work Schedule
The Nature of Technical Rehearsals
The SM Entering Techs
The SM's Work in Techs
First Business of the Day
The Company Callboard
Directional Signs
No Let Up for the SM
The SM's Second Day of Techs
The SM's Psychology of Good Timing
Grey Responsibilities
In the Line of Fire, Magnified
The Crew's Expectations of the SM
Cast and Crew Coming Together
Preventative Measures
The SM Sets the Example
The Daily Tech Schedule
Division of Labor
The Working Relationships of Techs
The SM
The Director
The SM, Producer, and Director
The Cast
The Crew
Let the Techs Begin
The Heart of Techs
Laying In Spike Marks
Changes and Cleaning Up the Cueing Script
The Next Phase of Techs
Actors' Entrances
Nipping It in the Bud
Timing the Show, or the Running Time
Show Rundown Sheets
Dry Techs
Scenery Plot and Fly Plot
Checking Sight Lines
The Blue Work Lights
Crucial Cues
Costumes, Hair, and Makeup
Musicals: The Orchestra
Scheduling the Orchestra
Rehearsal Space for the Orchestra
The SM's Responsibility for the Orchestra Rehearsal
Before the Arrival of the Fire Marshal
The Fire Marshal's Arrival
Another Grey Responsibility
The Final Phase of Techs
Collecting and Returning Valuables
Techs Continue
Performance Level
The Director Giving Notes
Important Information for the SM
Performance Show Reports
Detailed Timing Forms
Production Photos or Videos
News Coverage and Interviews
Piano Tuning
More on the SM's Working Relationships
A New Beginning
The Professional Experience: An SM Overwhelmed
Opening Performance
The Event of an Opening Performance
Hellish Openings
The Supreme Power and Rights of the SM
One Voice
Curtain Bows
Last Minute Cue Noting
Encore Bows
Arrival of Congratulatory Items
Working the PA System
The Half-Hour Call
Use of the Terms Company and Cast
Repetitive Information
Giving Notes, Instructions, or Directions to the Cast
Half-Hour: The Cast's Time
The Fifteen-Minute Call
For SMs' Use Only
The Five-Minute Call
Prompt and Consistent
Applause and Acknowledgment
Curtain UP!
The Professional Experience
The Scarlet Primper-Nell
Run of the Show
Reviews and Ticket Sales
A New Show
A Shift in Work
The Show is Frozen
Company Manager and SM Left in Charge
The SM's Work and Responsibilities
The SM's Log Book
Sample Entries in a Log Book
Actor Changes and Improvements
Knowing Acting and Directing
Giving Actors Performance Notes
Varying Performances
The SM's Transition in Giving Performance Notes
Giving Stars Performance Notes
Delivering Other People's Performance Notes
A Final Step: Follow-Up
The ASM Takes Stage
The ASM Prepares
The ASM's Working Disadvantage
Show Insurance: The Show Must Go On
Updating the Blocking
Days Off and Matinee Days
Matinee Performances
Rehearsals During the Run of the Show
Brush-Up Rehearsals
Line Rehearsals
Understudy Rehearsals
Stand-By Performers
Replacement Performers
Prompting or Feeding Actors Lines
Creating Close Friendships
The Professional Experience
Star Power: Box Office Power
Walking in Elephant's Shoes
The Reluctant Star Understudy
The Touring Show
Types of Touring Shows
Equity Care
The Company Manager, Touring Manager, and SM
The Wear and Tear of Touring
The Road Crew
The SMs
The Actors
The Parts and Phases of Touring
Closing Out the Show and Packing
Setting Up and Being Ready for the First Performance
Additional Work for the Touring SM
Spike Marks and Taping
Additional Conversation with the FOH
Focusing the Show Lights
Spotlight Cues
Local Actors
Another SM Myth
On the Road Relationships and Behavior
Living Together
The Actors
The Crew
Cast and Crew
The SM
The Performance on the Road
The Professional Experience
On the Road with a Major Musical, by Anne Sullivan
Closing the Show
The Closing Notice
The SM's Obligation to the End
A Final SM Myth
The Silent Preparations
The SM's Preparatory Work
The Production Book
State of the Production Book
The SM's Personal Library
The Cueing Script
The Blocking Script
Much to Do About Nothing
A Production Book for the Director?
The Log Book
The Final Address List
Collecting Scripts
Personal Props
The Last Performance
The Equity Bond
Departure and Goodbyes
The Professional Experience
In the Line of Fire
Glossary: The SM's Working Vocabulary
Free shipping on orders over $35*

*A minimum purchase of $35 is required. Shipping is provided via FedEx SmartPost® and FedEx Express Saver®. Average delivery time is 1 – 5 business days, but is not guaranteed in that timeframe. Also allow 1 - 2 days for processing. Free shipping is eligible only in the continental United States and excludes Hawaii, Alaska and Puerto Rico. FedEx service marks used by permission."Marketplace" orders are not eligible for free or discounted shipping.

Learn more about the TextbookRush Marketplace.