| 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . | 1 |
| The Professional Gap . . . . . . . . . . . . . . . . . . . . . . . | 1 |
| Learning the Hard Way . . . . . . . . . . . . . . . . . . . . . . | 1 |
| The Human and Psychological Side . . . . . . . . . . . . . . . . . | 1 |
| Objective and Intention of This Book . . . . . . . . . . . . . . . | 2 |
| The Chapters . . . . . . . . . . . . . . . . . . . . . . . . . . . | 2 |
| End of Chapter Features . . . . . . . . . . . . . . . . . . . . . | 2 |
| A Glossary of Words, Terms, Expressions, and Phrases . . . . . . . | 3 |
| A Definition of Professional . . . . . . . . . . . . . . . . . . . | 3 |
| The Distinguishing Line . . . . . . . . . . . . . . . . . . . . . | 3 |
| The Most Important Work . . . . . . . . . . . . . . . . . . . . . | 4 |
| The Musical Play . . . . . . . . . . . . . . . . . . . . . . . . . | 4 |
| Standard Stage Manager Titles and Their Abbreviations . . . . . . | 4 |
| The ASM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 4 |
| Women SMs . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 5 |
| A History of SMs . . . . . . . . . . . . . . . . . . . . . . . . . | 5 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 5 |
| Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 6 |
| | |
| 2. The Anatomy of a Good Stage Manager . . . . . . . . . . . . . . | 8 |
| The Practical Application . . . . . . . . . . . . . . . . . . . . | 8 |
| The Qualities of a Good SM . . . . . . . . . . . . . . . . . . . . | 10 |
| The Spirit of an SM . . . . . . . . . . . . . . . . . . . . . . . | 12 |
| The Right Stuff . . . . . . . . . . . . . . . . . . . . . . . . . | 12 |
| Core of the Spirit . . . . . . . . . . . . . . . . . . . . . . . . | 12 |
| A Need for Perfection . . . . . . . . . . . . . . . . . . . . . . | 13 |
| Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 13 |
| Anatomy of the ASM . . . . . . . . . . . . . . . . . . . . . . . . | 13 |
| Show Business: A Glamorous Business . . . . . . . . . . . . . . . | 14 |
| Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 14 |
| | |
| 3. The Stage Manager's Chain of Command List . . . . . . . . . . . | 16 |
| The Production Executives . . . . . . . . . . . . . . . . . . . . | 17 |
| The Production Office Staff . . . . . . . . . . . . . . . . . . . | 19 |
| The Creators . . . . . . . . . . . . . . . . . . . . . . . . . . . | 19 |
| The Production Staff . . . . . . . . . . . . . . . . . . . . . . . | 20 |
| The Performing Artists and Actor's Equity . . . . . . . . . . . . | 22 |
| The Technical Staff: Designers, Department Heads, Their Assistants, and Crewmembers | 22 |
| The Shops and Vendors . . . . . . . . . . . . . . . . . . . . . . | 23 |
| The Theatre, Performance Site, or Venue . . . . . . . . . . . . . | 23 |
| In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 24 |
| | |
| 4. Stage Manager for Hire: Seeking Work, | |
| Getting the Job, and Being Hired Again and Again . . . . . . . . . | 25 |
| Networking . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 25 |
| Building a Resume . . . . . . . . . . . . . . . . . . . . . . . . | 25 |
| Presentation of the Resume . . . . . . . . . . . . . . . . . . . . | 25 |
| The Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 25 |
| The Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . | 26 |
| One-Page Resumes . . . . . . . . . . . . . . . . . . . . . . . . . | 26 |
| Slanting the Resume and Additional Credit Headings . . . . . . . . | 26 |
| Repetitive Credits . . . . . . . . . . . . . . . . . . . . . . . . | 26 |
| Absence of Dates . . . . . . . . . . . . . . . . . . . . . . . . . | 26 |
| Further Experience . . . . . . . . . . . . . . . . . . . . . . . . | 26 |
| References . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 26 |
| Optional Information . . . . . . . . . . . . . . . . . . . . . . . | 28 |
| Establishing a Good Reputation . . . . . . . . . . . . . . . . . . | 28 |
| Good Word-of-Mouth . . . . . . . . . . . . . . . . . . . . . . . . | 28 |
| Interviewing for the Job . . . . . . . . . . . . . . . . . . . . . | 28 |
| Gut Feeling . . . . . . . . . . . . . . . . . . . . . . . . . . . | 28 |
| Controlling the Interview and the Outcome . . . . . . . . . . . . | 28 |
| Wanting the Job . . . . . . . . . . . . . . . . . . . . . . . . . | 29 |
| First Impressions . . . . . . . . . . . . . . . . . . . . . . . . | 29 |
| Dressing the Part . . . . . . . . . . . . . . . . . . . . . . . . | 29 |
| The Chit-Chat Part of the Interview . . . . . . . . . . . . . . . | 29 |
| The Other Side of Interviewing . . . . . . . . . . . . . . . . . . | 29 |
| The Most Difficult Parts of Interviewing . . . . . . . . . . . . . | 30 |
| Getting and Equity Card . . . . . . . . . . . . . . . . . . . . . | 30 |
| Persistence, Paying Dues, Doing Your Best . . . . . . . . . . . . | 30 |
| The Terms of the Contract . . . . . . . . . . . . . . . . . . . . | 30 |
| Negotiating . . . . . . . . . . . . . . . . . . . . . . . . . . . | 30 |
| Personal Financial Planning, Budgeting, and Support for the SM . . | 31 |
| Unemployment Insurance Benefits . . . . . . . . . . . . . . . . . | 31 |
| The SM's Survival Kit . . . . . . . . . . . . . . . . . . . . . . | 31 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 31 |
| Proud to Join the Ranks . . . . . . . . . . . . . . . . . . . . . | 31 |
| The Terminator Negotiator . . . . . . . . . . . . . . . . . . . . | 32 |
| The Gut Feeling . . . . . . . . . . . . . . . . . . . . . . . . . | 32 |
| Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 33 |
| | |
| 5. Tools, Supplies, and Equipment . . . . . . . . . . . . . . . . | 35 |
| The SM's Portable Office . . . . . . . . . . . . . . . . . . . . . | 35 |
| The SM's Console . . . . . . . . . . . . . . . . . . . . . . . . . | 35 |
| The SM's Bag . . . . . . . . . . . . . . . . . . . . . . . . . . . | 35 |
| The SM's Box . . . . . . . . . . . . . . . . . . . . . . . . . . . | 39 |
| The SM's Filing System . . . . . . . . . . . . . . . . . . . . . . | 39 |
| Other Items in the SM's Box . . . . . . . . . . . . . . . . . . . | 40 |
| Today's Stage Manager . . . . . . . . . . . . . . . . . . . . . . | 41 |
| Electronic Equipment . . . . . . . . . . . . . . . . . . . . . . . | 41 |
| Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 42 |
| In Transition . . . . . . . . . . . . . . . . . . . . . . . . . . | 42 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 42 |
| The Well-Supplied SM . . . . . . . . . . . . . . . . . . . . . . . | 42 |
| Log Book: Star Witness . . . . . . . . . . . . . . . . . . . . . . | 43 |
| | |
| 6. Hard Copy: Charts, Plots, Plans, and Lists . . . . . . . . . . | 44 |
| Forms Defined . . . . . . . . . . . . . . . . . . . . . . . . . . | 44 |
| The Scene/Character Tracking Chart . . . . . . . . . . . . . . . . | 44 |
| Our Imaginary Play . . . . . . . . . . . . . . . . . . . . . . . . | 44 |
| Beginning the Scene/Character Tracking Chart . . . . . . . . . . . | 45 |
| A Refinement . . . . . . . . . . . . . . . . . . . . . . . . . . . | 45 |
| The Heading . . . . . . . . . . . . . . . . . . . . . . . . . . . | 46 |
| Breaking Down the Play by Scenes . . . . . . . . . . . . . . . . . | 46 |
| Subdivision of Scenes, or French Scenes . . . . . . . . . . . . . | 47 |
| Naming or Tagging a Scene . . . . . . . . . . . . . . . . . . . . | 47 |
| The Character/Actor-Actor/Character List . . . . . . . . . . . . . | 49 |
| The Sign-in Sheet . . . . . . . . . . . . . . . . . . . . . . . . | 50 |
| The Rehearsal Sign-in Sheet and Performance Sign-in Sheet . . . . | 50 |
| Listing the Actor's Names on the Sign-in Sheet . . . . . . . . . . | 51 |
| The Day Off While in Rehearsals . . . . . . . . . . . . . . . . . | 51 |
| The Performance Sign-in Sheet . . . . . . . . . . . . . . . . . . | 51 |
| Matinee Performances . . . . . . . . . . . . . . . . . . . . . . . | 51 |
| The Day Off When in Performance . . . . . . . . . . . . . . . . . | 51 |
| Address Lists and Contact Sheet . . . . . . . . . . . . . . . . . | 51 |
| The Cast Address List and Staff Address List . . . . . . . . . . . | 51 |
| The Contact Sheet . . . . . . . . . . . . . . . . . . . . . . . . | 52 |
| Schedules . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 52 |
| The Block Calendar . . . . . . . . . . . . . . . . . . . . . . . . | 52 |
| The Daily Schedule . . . . . . . . . . . . . . . . . . . . . . . . | 54 |
| The SM's Personal Floor Plans . . . . . . . . . . . . . . . . . . | 54 |
| Starting with the Blueprints . . . . . . . . . . . . . . . . . . . | 55 |
| SM's Knowledge of the Set . . . . . . . . . . . . . . . . . . . . | 55 |
| From Blueprints to the Personal Floor Plans . . . . . . . . . . . | 57 |
| Computer-Generated Floor Plans . . . . . . . . . . . . . . . . . . | 57 |
| The SM's Personal Floor Plans for Annie Get Your Gun . . . . . . . | 58 |
| The Hello Jerry Personal Floor Plans . . . . . . . . . . . . . . . | 60 |
| Personal Floor Plans for the One-Set Comedy, John and Mary . . . . | 61 |
| Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 63 |
| The Schedule Reminder List . . . . . . . . . . . . . . . . . . . . | 63 |
| Industry Phone Numbers List . . . . . . . . . . . . . . . . . . . | 63 |
| The Correct Spelling of Names List . . . . . . . . . . . . . . . . | 63 |
| The Prop List . . . . . . . . . . . . . . . . . . . . . . . . . . | 64 |
| Sound Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . | 66 |
| Body Mic Tracking Chart . . . . . . . . . . . . . . . . . . . . . | 70 |
| Dressing Room Assignments List . . . . . . . . . . . . . . . . . . | 70 |
| Show Rundown or Running Order . . . . . . . . . . . . . . . . . . | 70 |
| Performance Running-Time Chart . . . . . . . . . . . . . . . . . . | 71 |
| Show Reports . . . . . . . . . . . . . . . . . . . . . . . . . . . | 73 |
| Changes and Revisions . . . . . . . . . . . . . . . . . . . . . . | 73 |
| Hard Copy for Which the SM Is Not Responsible . . . . . . . . . . | 74 |
| In Closing . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 74 |
| | |
| 7. Profiles and Working Relationships . . . . . . . . . . . . . . | 75 |
| First and Foremost . . . . . . . . . . . . . . . . . . . . . . . . | 75 |
| A Starting Point . . . . . . . . . . . . . . . . . . . . . . . . . | 75 |
| Turning Inward . . . . . . . . . . . . . . . . . . . . . . . . . . | 76 |
| The Three Parts of the Inner Self . . . . . . . . . . . . . . . . | 76 |
| Personal Belief Systems . . . . . . . . . . . . . . . . . . . . . | 76 |
| Making Personal Change . . . . . . . . . . . . . . . . . . . . . . | 77 |
| The Spiritual Self . . . . . . . . . . . . . . . . . . . . . . . . | 77 |
| Anger and Fear . . . . . . . . . . . . . . . . . . . . . . . . . . | 77 |
| A Lifetime Work-in-Progress . . . . . . . . . . . . . . . . . . . | 78 |
| Ego . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 78 |
| The SM's Ego . . . . . . . . . . . . . . . . . . . . . . . . . . . | 78 |
| Working with Ego . . . . . . . . . . . . . . . . . . . . . . . . . | 78 |
| The Issue of Control and Perfection . . . . . . . . . . . . . . . | 78 |
| Dealing with Disagreement, Conflict, Confrontation . . . . . . . . | 79 |
| "You" Versus "I" . . . . . . . . . . . . . . . . . . . . . . . . . | 79 |
| The Art of Listening . . . . . . . . . . . . . . . . . . . . . . . | 79 |
| Bringing Closure . . . . . . . . . . . . . . . . . . . . . . . . . | 79 |
| Setting Limits, Boundaries, and Expectations . . . . . . . . . . . | 79 |
| The Power and Position of a SM . . . . . . . . . . . . . . . . . . | 80 |
| Profiles: Superiors, Peers, and Associates . . . . . . . . . . . . | 80 |
| Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 80 |
| Founder, General Manager, Executive Producer . . . . . . . . . . . | 81 |
| Associate Producer . . . . . . . . . . . . . . . . . . . . . . . . | 81 |
| Company Manager . . . . . . . . . . . . . . . . . . . . . . . . . | 81 |
| Production Secretary . . . . . . . . . . . . . . . . . . . . . . . | 82 |
| Casting Director . . . . . . . . . . . . . . . . . . . . . . . . . | 82 |
| Publicity: Press, Programs, and Photography . . . . . . . . . . . | 82 |
| Office Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . | 82 |
| Author, Composer, and Lyricist . . . . . . . . . . . . . . . . . . | 83 |
| Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 83 |
| Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . | 85 |
| Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . | 85 |
| Rehearsal Pianist . . . . . . . . . . . . . . . . . . . . . . . . | 86 |
| The Music Arrangers: Vocal, Dance, Orchestration, and Copyist . . | 86 |
| Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . | 86 |
| Dance Captain and Swing Dancer . . . . . . . . . . . . . . . . . . | 87 |
| Performers . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 87 |
| Children Performers . . . . . . . . . . . . . . . . . . . . . . . | 91 |
| Actor's Equity . . . . . . . . . . . . . . . . . . . . . . . . . . | 91 |
| Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 92 |
| Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . . | 92 |
| Technical Director (TD) . . . . . . . . . . . . . . . . . . . . . | 94 |
| Head Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . | 95 |
| Head Flyman or Head of the Rail . . . . . . . . . . . . . . . . . | 95 |
| Head of Props (Propman, Prop Master, or Property Master) . . . . . | 95 |
| The Electrical Department (Lighting) . . . . . . . . . . . . . . . | 95 |
| The Sound Department and Head of Sound . . . . . . . . . . . . . . | 96 |
| I.A.T.S.E.: The Stagehand's Union . . . . . . . . . . . . . . . . | 97 |
| Costume/Wardrobe Department . . . . . . . . . . . . . . . . . . . | 97 |
| The Hair Department . . . . . . . . . . . . . . . . . . . . . . . | 98 |
| Shops and Vendors . . . . . . . . . . . . . . . . . . . . . . . . | 98 |
| The Performance Site and Their Personnel . . . . . . . . . . . . . | 98 |
| In Closing . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 99 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 99 |
| Personal Beliefs . . . . . . . . . . . . . . . . . . . . . . . . . | 100 |
| A Central Dance Figure . . . . . . . . . . . . . . . . . . . . . . | 100 |
| Star Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 101 |
| Baby June's Mom: Mamma Rose . . . . . . . . . . . . . . . . . . . | 101 |
| Maintaining Artistic Integrity . . . . . . . . . . . . . . . . . . | 102 |
| Electrical Storm . . . . . . . . . . . . . . . . . . . . . . . . . | 103 |
| | |
| 8. Running Auditions . . . . . . . . . . . . . . . . . . . . . . . | 104 |
| The Equity Field Representative . . . . . . . . . . . . . . . . . | 104 |
| The Auditioning Staff . . . . . . . . . . . . . . . . . . . . . . | 104 |
| Types of Audition Calls . . . . . . . . . . . . . . . . . . . . . | 104 |
| The Open Call or Cattle Call . . . . . . . . . . . . . . . . . . . | 104 |
| Auditioning by Appointment . . . . . . . . . . . . . . . . . . . . | 105 |
| Auditions for Musicals . . . . . . . . . . . . . . . . . . . . . . | 105 |
| Singing Auditions for a Role . . . . . . . . . . . . . . . . . . . | 105 |
| Ensemble Auditions . . . . . . . . . . . . . . . . . . . . . . . . | 105 |
| Star and Lead Role Auditions . . . . . . . . . . . . . . . . . . . | 106 |
| Actors' Representatives . . . . . . . . . . . . . . . . . . . . . | 106 |
| Auditions for the Non-Equity Actor . . . . . . . . . . . . . . . . | 106 |
| Preparing for the Auditions . . . . . . . . . . . . . . . . . . . | 106 |
| Becoming Familiar with the Script . . . . . . . . . . . . . . . . | 106 |
| Communicating with the Audition Site . . . . . . . . . . . . . . . | 106 |
| Office Supplies . . . . . . . . . . . . . . . . . . . . . . . . . | 107 |
| Directional Signs . . . . . . . . . . . . . . . . . . . . . . . . | 108 |
| Audition Instruction Sheet . . . . . . . . . . . . . . . . . . . . | 108 |
| The Audition Sign-in Sheet . . . . . . . . . . . . . . . . . . . . | 108 |
| Choosing Scenes for the Audition . . . . . . . . . . . . . . . . . | 108 |
| The Audition Space . . . . . . . . . . . . . . . . . . . . . . . . | 110 |
| Dividing the Audition Space . . . . . . . . . . . . . . . . . . . | 110 |
| Setting Up the Reception Area . . . . . . . . . . . . . . . . . . | 110 |
| The Sign-in Table . . . . . . . . . . . . . . . . . . . . . . . . | 110 |
| Seating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 110 |
| Toilet Facilities and Drinking Water . . . . . . . . . . . . . . . | 110 |
| Setting Up the Audition Area . . . . . . . . . . . . . . . . . . . | 110 |
| The Setup in a Theatre . . . . . . . . . . . . . . . . . . . . . . | 110 |
| The Setup in an Audition Room . . . . . . . . . . . . . . . . . . | 111 |
| Quiet Please! Audition in Progress . . . . . . . . . . . . . . . . | 111 |
| The SM's Art and Craft in Working the Audition Room . . . . . . . | 112 |
| Serving the Actors . . . . . . . . . . . . . . . . . . . . . . . . | 112 |
| Reading the Scenes with Actors . . . . . . . . . . . . . . . . . . | 113 |
| Bringing Closure to the Audition . . . . . . . . . . . . . . . . . | 113 |
| Your Best Sixteen Bars . . . . . . . . . . . . . . . . . . . . . . | 113 |
| A Second Time Around . . . . . . . . . . . . . . . . . . . . . . . | 113 |
| SM as Time Keeper . . . . . . . . . . . . . . . . . . . . . . . . | 114 |
| Callback Auditions . . . . . . . . . . . . . . . . . . . . . . . . | 114 |
| Actors Getting a Callback . . . . . . . . . . . . . . . . . . . . | 114 |
| The Spirit of Callback Auditions . . . . . . . . . . . . . . . . . | 115 |
| Working the Callback Auditions . . . . . . . . . . . . . . . . . . | 115 |
| SMs Conducting the First Auditions . . . . . . . . . . . . . . . . | 115 |
| You Got the Job! . . . . . . . . . . . . . . . . . . . . . . . . . | 116 |
| The SM's Expressed Opinion . . . . . . . . . . . . . . . . . . . . | 116 |
| In Closing . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 116 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 117 |
| An Epic Audition . . . . . . . . . . . . . . . . . . . . . . . . . | 117 |
| Serving the Director's Audition Needs . . . . . . . . . . . . . . | 118 |
| | |
| 9. The SM's Production Week . . . . . . . . . . . . . . . . . . . | 120 |
| Homework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 120 |
| At the Production Office . . . . . . . . . . . . . . . . . . . . . | 120 |
| On the First Day . . . . . . . . . . . . . . . . . . . . . . . . . | 121 |
| The Block Calendar . . . . . . . . . . . . . . . . . . . . . . . . | 121 |
| Key Information . . . . . . . . . . . . . . . . . . . . . . . . . | 121 |
| Under the SM's Watchful Eyes . . . . . . . . . . . . . . . . . . . | 122 |
| Production Meeting . . . . . . . . . . . . . . . . . . . . . . . . | 122 |
| Making Phone Calls and Creating the Address Lists . . . . . . . . | 122 |
| Personal Contact . . . . . . . . . . . . . . . . . . . . . . . . . | 122 |
| Information Needed . . . . . . . . . . . . . . . . . . . . . . . . | 123 |
| Applying the Art of Listening . . . . . . . . . . . . . . . . . . | 123 |
| The Contact Sheet . . . . . . . . . . . . . . . . . . . . . . . . | 124 |
| Contacting the Equity Field Representative . . . . . . . . . . . . | 124 |
| Settling in to a Calmer Pace . . . . . . . . . . . . . . . . . . . | 124 |
| The Scene/Character Tracking Chart . . . . . . . . . . . . . . . . | 124 |
| Character/Actor-Actor/Character List . . . . . . . . . . . . . . . | 124 |
| The SM's Personal Floor Plans . . . . . . . . . . . . . . . . . . | 124 |
| Completing the List of Hard Copy Work . . . . . . . . . . . . . . | 125 |
| Assembling and Distributing Packets of Information . . . . . . . . | 125 |
| Revisions of Imformation . . . . . . . . . . . . . . . . . . . . . | 125 |
| Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 125 |
| Distribution of Scripts . . . . . . . . . . . . . . . . . . . . . | 125 |
| Script Copying . . . . . . . . . . . . . . . . . . . . . . . . . . | 126 |
| The Paperback Play Book . . . . . . . . . . . . . . . . . . . . . | 126 |
| Finishing the Production Week . . . . . . . . . . . . . . . . . . | 126 |
| Rehearsal Rooms . . . . . . . . . . . . . . . . . . . . . . . . . | 126 |
| Taping the Rehearsal Room Floor . . . . . . . . . . . . . . . . . | 127 |
| Rehearsal Props and Furniture . . . . . . . . . . . . . . . . . . | 129 |
| The Equity Callboard . . . . . . . . . . . . . . . . . . . . . . . | 129 |
| The Finishing Touches on the Rehearsal Room . . . . . . . . . . . | 130 |
| In Closing . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 130 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 130 |
| Fritzie: A Lasting Impression . . . . . . . . . . . . . . . . . . | 131 |
| | |
| 10. Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . | 133 |
| The First Day of Rehearsals . . . . . . . . . . . . . . . . . . . | 133 |
| The First Day Rehearsal Hall Setup . . . . . . . . . . . . . . . . | 133 |
| Setting Up for Equity . . . . . . . . . . . . . . . . . . . . . . | 134 |
| Setting Up the Social Amenities . . . . . . . . . . . . . . . . . | 134 |
| Additional Setup . . . . . . . . . . . . . . . . . . . . . . . . . | 134 |
| Arrival of the Cast . . . . . . . . . . . . . . . . . . . . . . . | 134 |
| The Equity Business Hour . . . . . . . . . . . . . . . . . . . . . | 135 |
| The Equity Business to Be Done . . . . . . . . . . . . . . . . . . | 135 |
| Attendance at the Equity Hour . . . . . . . . . . . . . . . . . . | 135 |
| The SM's Formal Welcome . . . . . . . . . . . . . . . . . . . . . | 135 |
| Costume Measurements . . . . . . . . . . . . . . . . . . . . . . . | 136 |
| Eight-by-Ten Glossies and Brief Biographies . . . . . . . . . . . | 136 |
| Enter the Producer, Director, and Star . . . . . . . . . . . . . . | 136 |
| Reading the Play . . . . . . . . . . . . . . . . . . . . . . . . . | 136 |
| Breaks for the Cast . . . . . . . . . . . . . . . . . . . . . . . | 137 |
| The Director and Breaks . . . . . . . . . . . . . . . . . . . . . | 137 |
| The Stopwatch . . . . . . . . . . . . . . . . . . . . . . . . . . | 137 |
| The Mid-Day Meal Break . . . . . . . . . . . . . . . . . . . . . . | 137 |
| After Mid-Day Break . . . . . . . . . . . . . . . . . . . . . . . | 138 |
| More on the Director and SM's Working Relationship . . . . . . . . | 138 |
| A Nightmare SM-Director Relationship . . . . . . . . . . . . . . . | 138 |
| What Directors Expect from Their SMs . . . . . . . . . . . . . . . | 139 |
| The Director's Rehearsal Time . . . . . . . . . . . . . . . . . . | 139 |
| Breaking into the Director's Creative Process . . . . . . . . . . | 139 |
| The SM's Notepad . . . . . . . . . . . . . . . . . . . . . . . . . | 140 |
| Making the Daily Schedule . . . . . . . . . . . . . . . . . . . . | 140 |
| Creation of the Daily Schedule . . . . . . . . . . . . . . . . . . | 140 |
| Distribution of the Daily Schedule . . . . . . . . . . . . . . . . | 141 |
| Working in Realistic Time . . . . . . . . . . . . . . . . . . . . | 141 |
| Poor Use of Time . . . . . . . . . . . . . . . . . . . . . . . . . | 141 |
| Considering the Actors in the Schedule . . . . . . . . . . . . . . | 141 |
| Dealing with People Being Late . . . . . . . . . . . . . . . . . . | 142 |
| Late Actors . . . . . . . . . . . . . . . . . . . . . . . . . . . | 142 |
| Late Directors or Stars . . . . . . . . . . . . . . . . . . . . . | 142 |
| The Equity Rulebook . . . . . . . . . . . . . . . . . . . . . . . | 142 |
| The Day's End . . . . . . . . . . . . . . . . . . . . . . . . . . | 143 |
| The End of the Day for the SM . . . . . . . . . . . . . . . . . . | 143 |
| Production Meetings . . . . . . . . . . . . . . . . . . . . . . . | 143 |
| The Work Continues . . . . . . . . . . . . . . . . . . . . . . . . | 144 |
| | |
| 11. The Rehearsal Script . . . . . . . . . . . . . . . . . . . . . | 145 |
| Learning the Show and Gathering Information . . . . . . . . . . . | 145 |
| Set Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 145 |
| Costumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 145 |
| Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 145 |
| Blocking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 145 |
| A Definition of Blocking . . . . . . . . . . . . . . . . . . . . . | 146 |
| Personal Blocking . . . . . . . . . . . . . . . . . . . . . . . . | 146 |
| Famous Blocking . . . . . . . . . . . . . . . . . . . . . . . . . | 146 |
| The SM's Responsibility for Noting Blocking . . . . . . . . . . . | 147 |
| The Speed Required for Making Blocking Notes . . . . . . . . . . . | 147 |
| The SM's Shorthand . . . . . . . . . . . . . . . . . . . . . . . . | 147 |
| Knowing Your Right from Your Left . . . . . . . . . . . . . . . . | 147 |
| The Stage Breakdown . . . . . . . . . . . . . . . . . . . . . . . | 147 |
| The Center Stage Line . . . . . . . . . . . . . . . . . . . . . . | 147 |
| Up Stage and Down Stage . . . . . . . . . . . . . . . . . . . . . | 149 |
| The Apron . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 149 |
| Greater Division of the Stage . . . . . . . . . . . . . . . . . . | 149 |
| Additional Reference Points . . . . . . . . . . . . . . . . . . . | 152 |
| The Complete Stage Breakdown Picture . . . . . . . . . . . . . . . | 152 |
| Arena Staging . . . . . . . . . . . . . . . . . . . . . . . . . . | 152 |
| Additional Abbreviations for Noting Blocking . . . . . . . . . . . | 153 |
| Abbreviations for Character Names . . . . . . . . . . . . . . . . | 154 |
| Moving Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . | 154 |
| Arrows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 155 |
| Some General SM Abbreviations . . . . . . . . . . . . . . . . . . | 156 |
| Noting Blocking for Busy Scenes . . . . . . . . . . . . . . . . . | 156 |
| The Absence of Some Blocking Details . . . . . . . . . . . . . . . | 157 |
| Neat Blocking Notes . . . . . . . . . . . . . . . . . . . . . . . | 158 |
| The Numerical Way to Note Blocking . . . . . . . . . . . . . . . . | 158 |
| The Publisher's Printed Stage Directions and Technical Effects . . | 158 |
| Organizing the Rehearsal/Blocking Script . . . . . . . . . . . . . | 161 |
| Tabbing the Scenes . . . . . . . . . . . . . . . . . . . . . . . . | 161 |
| Inserting the SM's Personal Floor Plans . . . . . . . . . . . . . | 162 |
| Script Changes . . . . . . . . . . . . . . . . . . . . . . . . . . | 162 |
| Following Script . . . . . . . . . . . . . . . . . . . . . . . . . | 163 |
| Following Script for the Director . . . . . . . . . . . . . . . . | 163 |
| Following Script for the Actors . . . . . . . . . . . . . . . . . | 163 |
| Calling Out Lines . . . . . . . . . . . . . . . . . . . . . . . . | 164 |
| Calling Technical Cues in Rehearsals . . . . . . . . . . . . . . . | 164 |
| The SM's Delivery Technique . . . . . . . . . . . . . . . . . . . | 164 |
| Timing Scenes, Acts, and the Whole Show . . . . . . . . . . . . . | 164 |
| Props . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 165 |
| Detailing the Props . . . . . . . . . . . . . . . . . . . . . . . | 165 |
| Red Flag Props . . . . . . . . . . . . . . . . . . . . . . . . . . | 165 |
| The Metamorphosis of the Prop List . . . . . . . . . . . . . . . . | 165 |
| In Closing . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 166 |
| | |
| 12. The Last Week of Rehearsals . . . . . . . . . . . . . . . . . | 167 |
| The Shift in Work . . . . . . . . . . . . . . . . . . . . . . . . | 167 |
| Meetings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 167 |
| Lighting Meeting . . . . . . . . . . . . . . . . . . . . . . . . . | 168 |
| Set Moves/Scene Changes Meeting (Paper Tech) . . . . . . . . . . . | 168 |
| Sound Cues Meeting . . . . . . . . . . . . . . . . . . . . . . . . | 168 |
| Costumes/Wardrobe and Hair Meetings . . . . . . . . . . . . . . . | 169 |
| Meeting with the Music Department . . . . . . . . . . . . . . . . | 169 |
| Set Designer/Construction Shop Meetings . . . . . . . . . . . . . | 169 |
| Advice to the SM . . . . . . . . . . . . . . . . . . . . . . . . . | 169 |
| The ASM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 170 |
| Birth of the Cueing or Calling Script . . . . . . . . . . . . . . | 170 |
| Run-Throughs of the Show . . . . . . . . . . . . . . . . . . . . . | 170 |
| The Director's Obligation to Have Run-Thrus . . . . . . . . . . . | 170 |
| The SM's Contributions to the Run-Thrus . . . . . . . . . . . . . | 171 |
| Invited Guests for Run-Thrus . . . . . . . . . . . . . . . . . . . | 171 |
| Preparing the Cast for the Changeover . . . . . . . . . . . . . . | 172 |
| Supplementary Rehearsal Space . . . . . . . . . . . . . . . . . . | 174 |
| Closing Out the Rehearsal Hall . . . . . . . . . . . . . . . . . . | 175 |
| | |
| 13. The Cueing Script . . . . . . . . . . . . . . . . . . . . . . | 176 |
| The SM's Master Plan or Conducting Score . . . . . . . . . . . . . | 176 |
| Preparing the Cueing Script . . . . . . . . . . . . . . . . . . . | 176 |
| Manuscript Size . . . . . . . . . . . . . . . . . . . . . . . . . | 177 |
| Cutting and Pasting Ends of Scenes . . . . . . . . . . . . . . . . | 177 |
| Everyone Working from the Same Script . . . . . . . . . . . . . . | 177 |
| Tabbing the Cueing Script . . . . . . . . . . . . . . . . . . . . | 177 |
| Cue Gathering . . . . . . . . . . . . . . . . . . . . . . . . . . | 177 |
| Noting the Cues . . . . . . . . . . . . . . . . . . . . . . . . . | 177 |
| Electric Cues . . . . . . . . . . . . . . . . . . . . . . . . . . | 177 |
| Abbreviations for Noting Cues . . . . . . . . . . . . . . . . . . | 178 |
| Color Coding . . . . . . . . . . . . . . . . . . . . . . . . . . . | 179 |
| Practical Application in Noting Cues . . . . . . . . . . . . . . . | 180 |
| The Caret . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 180 |
| Making Changes and Refining Timing . . . . . . . . . . . . . . . . | 180 |
| Color Coding Figure 13-2 . . . . . . . . . . . . . . . . . . . . . | 180 |
| Point Cues . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 180 |
| Boxed Information . . . . . . . . . . . . . . . . . . . . . . . . | 183 |
| Key Notes in Parentheses . . . . . . . . . . . . . . . . . . . . . | 183 |
| Bracketed Cues . . . . . . . . . . . . . . . . . . . . . . . . . . | 184 |
| The Rail Cue . . . . . . . . . . . . . . . . . . . . . . . . . . . | 184 |
| Cues Cut from the Show . . . . . . . . . . . . . . . . . . . . . . | 184 |
| A Group of Cues . . . . . . . . . . . . . . . . . . . . . . . . . | 184 |
| Noting Spotlight Cues . . . . . . . . . . . . . . . . . . . . . . | 184 |
| A Complicated Sequence or Grouping of Cues . . . . . . . . . . . . | 185 |
| Color Coding Figure 13-6 . . . . . . . . . . . . . . . . . . . . . | 186 |
| A Grandaddy Cue Sequence . . . . . . . . . . . . . . . . . . . . . | 187 |
| Color Coding Figure 13-7 . . . . . . . . . . . . . . . . . . . . . | 187 |
| Noting WARN: Cues . . . . . . . . . . . . . . . . . . . . . . . . | 187 |
| Noting Cues for the Opening of the Show . . . . . . . . . . . . . | 190 |
| Thirty Minutes Before Show Time . . . . . . . . . . . . . . . . . | 190 |
| Noting the Half-Hour Call in the Cueing Script . . . . . . . . . . | 190 |
| Head Count . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 190 |
| Putting in the First Set of WARN:s . . . . . . . . . . . . . . . . | 191 |
| Pre-Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 191 |
| Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 191 |
| Mastering Figure 13-10 . . . . . . . . . . . . . . . . . . . . . . | 193 |
| Calling the Cues . . . . . . . . . . . . . . . . . . . . . . . . . | 193 |
| Reaction Time . . . . . . . . . . . . . . . . . . . . . . . . . . | 193 |
| Feeling at Home at the SM's Console . . . . . . . . . . . . . . . | 194 |
| Three Parts to Calling Cues . . . . . . . . . . . . . . . . . . . | 196 |
| Calling Spotlight Cues . . . . . . . . . . . . . . . . . . . . . . | 197 |
| QUICK, Turn Page, More Cues . . . . . . . . . . . . . . . . . . . | 197 |
| Calling Cues with Clarity . . . . . . . . . . . . . . . . . . . . | 198 |
| The SM's Pattern and Rhythm . . . . . . . . . . . . . . . . . . . | 198 |
| Vocal Inflection . . . . . . . . . . . . . . . . . . . . . . . . . | 198 |
| Watching the Stage . . . . . . . . . . . . . . . . . . . . . . . . | 198 |
| Tight and Flowing . . . . . . . . . . . . . . . . . . . . . . . . | 199 |
| Visualizing Scene Changes and Transitions . . . . . . . . . . . . | 199 |
| Giving Hand Cues . . . . . . . . . . . . . . . . . . . . . . . . . | 199 |
| Working in a Congenial, Pleasant, and Businesslike Manner . . . . | 200 |
| In Closing . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 200 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 200 |
| Lost and Never Found: An SM's Nightmare . . . . . . . . . . . . . | 201 |
| | |
| 14. Technical Rehearsals . . . . . . . . . . . . . . . . . . . . . | 202 |
| The PSM and ASM . . . . . . . . . . . . . . . . . . . . . . . . . | 202 |
| No Rest for the SM . . . . . . . . . . . . . . . . . . . . . . . . | 202 |
| The Cast's Work Schedule . . . . . . . . . . . . . . . . . . . . . | 202 |
| The Nature of Technical Rehearsals . . . . . . . . . . . . . . . . | 202 |
| The SM Entering Techs . . . . . . . . . . . . . . . . . . . . . . | 203 |
| The SM's Work in Techs . . . . . . . . . . . . . . . . . . . . . . | 203 |
| First Business of the Day . . . . . . . . . . . . . . . . . . . . | 204 |
| The Company Callboard . . . . . . . . . . . . . . . . . . . . . . | 206 |
| Directional Signs . . . . . . . . . . . . . . . . . . . . . . . . | 207 |
| No Let Up for the SM . . . . . . . . . . . . . . . . . . . . . . . | 207 |
| The SM's Second Day of Techs . . . . . . . . . . . . . . . . . . . | 207 |
| The SM's Psychology of Good Timing . . . . . . . . . . . . . . . . | 208 |
| Grey Responsibilities . . . . . . . . . . . . . . . . . . . . . . | 209 |
| In the Line of Fire, Magnified . . . . . . . . . . . . . . . . . . | 209 |
| The Crew's Expectations of the SM . . . . . . . . . . . . . . . . | 209 |
| Cast and Crew Coming Together . . . . . . . . . . . . . . . . . . | 209 |
| Preventative Measures . . . . . . . . . . . . . . . . . . . . . . | 210 |
| The SM Sets the Example . . . . . . . . . . . . . . . . . . . . . | 210 |
| The Daily Tech Schedule . . . . . . . . . . . . . . . . . . . . . | 210 |
| Division of Labor . . . . . . . . . . . . . . . . . . . . . . . . | 211 |
| The Working Relationship of Techs . . . . . . . . . . . . . . . . | 211 |
| The SM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 212 |
| The Director . . . . . . . . . . . . . . . . . . . . . . . . . . . | 212 |
| The SM, Producer, and Director . . . . . . . . . . . . . . . . . . | 212 |
| The Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 212 |
| The Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 213 |
| Let the Techs Begin . . . . . . . . . . . . . . . . . . . . . . . | 213 |
| The Heart of Techs . . . . . . . . . . . . . . . . . . . . . . . . | 214 |
| Laying In Spike Marks . . . . . . . . . . . . . . . . . . . . . . | 214 |
| Changes and Cleaning Up the Cueing Script . . . . . . . . . . . . | 214 |
| The Next Phase of Techs . . . . . . . . . . . . . . . . . . . . . | 215 |
| Actor's Entrances . . . . . . . . . . . . . . . . . . . . . . . . | 215 |
| Nipping It in the Bud . . . . . . . . . . . . . . . . . . . . . . | 216 |
| Timing the Show, or the Running Time . . . . . . . . . . . . . . . | 216 |
| Show Rundown Sheets . . . . . . . . . . . . . . . . . . . . . . . | 216 |
| Dry Techs . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 216 |
| Scenery Plot and Fly Plot . . . . . . . . . . . . . . . . . . . . | 216 |
| Checking Sight Lines . . . . . . . . . . . . . . . . . . . . . . . | 216 |
| The Blue Work Lights . . . . . . . . . . . . . . . . . . . . . . . | 217 |
| Crucial Cues . . . . . . . . . . . . . . . . . . . . . . . . . . . | 217 |
| Costumes, Hair, and Makeup . . . . . . . . . . . . . . . . . . . . | 217 |
| Musicals: The Orchestra . . . . . . . . . . . . . . . . . . . . . | 218 |
| Scheduling the Orchestra . . . . . . . . . . . . . . . . . . . . . | 218 |
| Rehearsal Space for the Orchestra . . . . . . . . . . . . . . . . | 218 |
| The SM's Responsibility for the Orchestra Rehearsal . . . . . . . | 219 |
| Before the Arrival of the Fire Marshal . . . . . . . . . . . . . . | 219 |
| The Fire Marshal's Arrival . . . . . . . . . . . . . . . . . . . . | 219 |
| Another Grey Responsibility . . . . . . . . . . . . . . . . . . . | 219 |
| The Final Phase of Techs . . . . . . . . . . . . . . . . . . . . . | 219 |
| Collecting and Returning Valuables . . . . . . . . . . . . . . . . | 219 |
| Techs Continue . . . . . . . . . . . . . . . . . . . . . . . . . . | 220 |
| Performance Level . . . . . . . . . . . . . . . . . . . . . . . . | 220 |
| The Director Giving Notes . . . . . . . . . . . . . . . . . . . . | 220 |
| Important Information for the SM . . . . . . . . . . . . . . . . . | 220 |
| Performance Show Reports . . . . . . . . . . . . . . . . . . . . . | 220 |
| Detailed Timing Forms . . . . . . . . . . . . . . . . . . . . . . | 221 |
| Production Photos or Videos . . . . . . . . . . . . . . . . . . . | 221 |
| News Coverage and Interviews . . . . . . . . . . . . . . . . . . . | 221 |
| Piano Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . | 222 |
| More on the SM's Working Relationship . . . . . . . . . . . . . . | 222 |
| A New Beginning . . . . . . . . . . . . . . . . . . . . . . . . . | 222 |
| The Professional Experience: An SM Overwhelmed . . . . . . . . . . | 223 |
| | |
| 15. Opening Performance . . . . . . . . . . . . . . . . . . . . . | 225 |
| The Event of an Opening Performance . . . . . . . . . . . . . . . | 225 |
| Hellish Openings . . . . . . . . . . . . . . . . . . . . . . . . . | 226 |
| The Supreme Power and Rights of the SM . . . . . . . . . . . . . . | 227 |
| One Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 227 |
| Curtain Bows . . . . . . . . . . . . . . . . . . . . . . . . . . . | 227 |
| Last Minute Cue Noting . . . . . . . . . . . . . . . . . . . . . . | 227 |
| Encore Bows . . . . . . . . . . . . . . . . . . . . . . . . . . . | 228 |
| Arrival of Congratulatory Items . . . . . . . . . . . . . . . . . | 228 |
| Working on the PA System . . . . . . . . . . . . . . . . . . . . . | 228 |
| The Half-Hour Call . . . . . . . . . . . . . . . . . . . . . . . . | 228 |
| Use of the Terms Company and Cast . . . . . . . . . . . . . . . . | 229 |
| Repetitive Information . . . . . . . . . . . . . . . . . . . . . . | 229 |
| Giving Notes, Instructions, or Directions to the Cast . . . . . . | 229 |
| Half-Hour: The Cast's Time . . . . . . . . . . . . . . . . . . . . | 230 |
| The Fifteen-Minute Call . . . . . . . . . . . . . . . . . . . . . | 230 |
| For SM's Use Only . . . . . . . . . . . . . . . . . . . . . . . . | 230 |
| The Five-Minute Call . . . . . . . . . . . . . . . . . . . . . . . | 230 |
| Prompt and Consistent . . . . . . . . . . . . . . . . . . . . . . | 231 |
| Applause and Acknowledgment . . . . . . . . . . . . . . . . . . . | 231 |
| Curtain UP! . . . . . . . . . . . . . . . . . . . . . . . . . . . | 232 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 232 |
| The Scarlet Primper-Nell . . . . . . . . . . . . . . . . . . . . . | 232 |
| | |
| 16. Run of the Show . . . . . . . . . . . . . . . . . . . . . . . | 234 |
| Reviews and Ticket Sales . . . . . . . . . . . . . . . . . . . . . | 234 |
| A New Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 234 |
| A Shift in Work . . . . . . . . . . . . . . . . . . . . . . . . . | 234 |
| The Show is Frozen . . . . . . . . . . . . . . . . . . . . . . . . | 234 |
| Company Manager and SM Left in Charge . . . . . . . . . . . . . . | 234 |
| The SM's Work and Responsibilities . . . . . . . . . . . . . . . . | 235 |
| The SM's Log Book . . . . . . . . . . . . . . . . . . . . . . . . | 236 |
| Sample Entries in a Log Book . . . . . . . . . . . . . . . . . . . | 236 |
| Actor Changes and Improvements . . . . . . . . . . . . . . . . . . | 239 |
| Knowing Acting and Directing . . . . . . . . . . . . . . . . . . . | 239 |
| Giving Actors Performance Notes . . . . . . . . . . . . . . . . . | 239 |
| Varying Performances . . . . . . . . . . . . . . . . . . . . . . . | 240 |
| The SM's Transition in Giving Performance Notes . . . . . . . . . | 241 |
| Giving Stars Performance Notes . . . . . . . . . . . . . . . . . . | 241 |
| Delivering Other People's Performance Notes . . . . . . . . . . . | 241 |
| A Final Step: Follow-Up . . . . . . . . . . . . . . . . . . . . . | 242 |
| The ASM Takes Stage . . . . . . . . . . . . . . . . . . . . . . . | 242 |
| The ASM Prepares . . . . . . . . . . . . . . . . . . . . . . . . . | 242 |
| The ASM's Working Disadvantage . . . . . . . . . . . . . . . . . . | 243 |
| Show Insurance: The Show Must Go On . . . . . . . . . . . . . . . | 243 |
| Updating the Blocking . . . . . . . . . . . . . . . . . . . . . . | 243 |
| Days Off and Matinee Days . . . . . . . . . . . . . . . . . . . . | 243 |
| Matinee Performances . . . . . . . . . . . . . . . . . . . . . . . | 244 |
| Rehearsals During the Run of the Show . . . . . . . . . . . . . . | 244 |
| Brush-Up Rehearsals . . . . . . . . . . . . . . . . . . . . . . . | 244 |
| Line Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . | 244 |
| Understudy Rehearsals . . . . . . . . . . . . . . . . . . . . . . | 244 |
| Stand-By Performers . . . . . . . . . . . . . . . . . . . . . . . | 247 |
| Replacement Performers . . . . . . . . . . . . . . . . . . . . . . | 248 |
| Prompting or Feeding Actors Lines . . . . . . . . . . . . . . . . | 248 |
| Creating Close Friendships . . . . . . . . . . . . . . . . . . . . | 248 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 248 |
| Star Power: Box Office Power . . . . . . . . . . . . . . . . . . . | 248 |
| Walking in Elephant's Shoes . . . . . . . . . . . . . . . . . . . | 249 |
| The Reluctant Star Understudy . . . . . . . . . . . . . . . . . . | 250 |
| | |
| 17. The Touring Show . . . . . . . . . . . . . . . . . . . . . . . | 252 |
| Types of Touring Shows . . . . . . . . . . . . . . . . . . . . . . | 252 |
| Equity Care . . . . . . . . . . . . . . . . . . . . . . . . . . . | 254 |
| The Company Manager, Touring Manager, and SM . . . . . . . . . . . | 254 |
| The Wear and Tear of Touring . . . . . . . . . . . . . . . . . . . | 254 |
| The Road Crew . . . . . . . . . . . . . . . . . . . . . . . . . . | 255 |
| The SMs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 255 |
| The Actors . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 255 |
| The Parts and Phases of Touring . . . . . . . . . . . . . . . . . | 255 |
| Part One: Closing Out the Show and Packing . . . . . . . . . . . . | 255 |
| Part Two: Traveling . . . . . . . . . . . . . . . . . . . . . . . | 257 |
| Part Three: Setting Up and Being Ready for the First Performance . | 261 |
| Additional Work for the Touring SM . . . . . . . . . . . . . . . . | 264 |
| Spike Marks and Taping . . . . . . . . . . . . . . . . . . . . . . | 264 |
| Additional Conversation with the FOH . . . . . . . . . . . . . . . | 264 |
| Focusing the Show Lights . . . . . . . . . . . . . . . . . . . . . | 264 |
| Spotlight Cues . . . . . . . . . . . . . . . . . . . . . . . . . . | 264 |
| Local Actors . . . . . . . . . . . . . . . . . . . . . . . . . . . | 265 |
| Another SM Myth . . . . . . . . . . . . . . . . . . . . . . . . . | 265 |
| On the Road Relationships and Behavior . . . . . . . . . . . . . . | 265 |
| Living Together . . . . . . . . . . . . . . . . . . . . . . . . . | 265 |
| The Actors . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 266 |
| The Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 266 |
| Cast and Crew . . . . . . . . . . . . . . . . . . . . . . . . . . | 266 |
| The SM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 266 |
| The Performance on the Road . . . . . . . . . . . . . . . . . . . | 267 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 267 |
| On the Road with a Major Musical, by Anne Sullivan . . . . . . . . | 267 |
| | |
| 18. Closing the Show . . . . . . . . . . . . . . . . . . . . . . . | 271 |
| The Closing Notice . . . . . . . . . . . . . . . . . . . . . . . . | 271 |
| Feelings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 271 |
| The SM's Obligation to the End . . . . . . . . . . . . . . . . . . | 271 |
| A Final SM Myth . . . . . . . . . . . . . . . . . . . . . . . . . | 271 |
| The Silent Preparations . . . . . . . . . . . . . . . . . . . . . | 272 |
| The SM's Preparatory Work . . . . . . . . . . . . . . . . . . . . | 272 |
| The Production Book . . . . . . . . . . . . . . . . . . . . . . . | 272 |
| State of the Production Book . . . . . . . . . . . . . . . . . . . | 272 |
| The SM's Personal Library . . . . . . . . . . . . . . . . . . . . | 273 |
| The Cueing Script . . . . . . . . . . . . . . . . . . . . . . . . | 273 |
| The Blocking Script . . . . . . . . . . . . . . . . . . . . . . . | 273 |
| Much to Do About Nothing . . . . . . . . . . . . . . . . . . . . . | 273 |
| A Production Book for the Director? . . . . . . . . . . . . . . . | 273 |
| The Log Book . . . . . . . . . . . . . . . . . . . . . . . . . . . | 274 |
| The Final Address List . . . . . . . . . . . . . . . . . . . . . . | 274 |
| Collecting Scripts . . . . . . . . . . . . . . . . . . . . . . . . | 274 |
| Personal Props . . . . . . . . . . . . . . . . . . . . . . . . . . | 274 |
| The Last Performance . . . . . . . . . . . . . . . . . . . . . . . | 275 |
| The Equity Bond . . . . . . . . . . . . . . . . . . . . . . . . . | 275 |
| Departure and Goodbyes . . . . . . . . . . . . . . . . . . . . . . | 275 |
| The Professional Experience . . . . . . . . . . . . . . . . . . . | 276 |
| | |
| 19. In the Line of Fire . . . . . . . . . . . . . . . . . . . . . | 277 |
| | |
| Glossary: The SM's Working Vocabulary . . . . . . . . . . . . . . | 293 |
| | |
| Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 341 |