Stage Management Preproduction Notes

Preproduction mindset and getting started

• Rehearsal journey begins after gathering information and connecting with the shop and design team
• The big aim is to catch up to the show and educate oneself about the show before talking with the director
• Expect ongoing dialogue with the director, not a single chat; initial conversations set the tone for an ongoing partnership

Key topics to discuss with the director (early conversations)

• What are directors and concepts about? learn the director’s version, vision, and concept; what is important to them
• If the director has done dramaturgical work or their own analysis, that helps the SM align with their brain of the show
• If the director has already broken down scenes differently than the script, the SM can enter that framework to stay on the same page
• How the director likes to rehearse: room vibe, mood, and comportment; desired room feel (e.g., serious vs lighter mood depending on the show’s needs)
• How the SM fits into maintaining that mood and setting an example for the room
• The director’s schedule and rehearsal structure: daily start/end times, longer days on weekends, etc.
• The pacing and run expectations: when the designer runs, when the first run might occur (e.g., Act One), and how the SM can help keep pacing on track
• Preferred rehearsal approaches: straight-through with intermittent breaks, reverse-and-build, or segment-by-segment progression; differences for musicals

Director prep and rehearsal philosophy

• Some directors prep deeply (pre-blocking in their head, etc.); others come in with a blank slate and rely on the SM and actors
• Recognize there is no single right method; adapt to what the director wants and adjust if necessary later
• Discuss room management: how they want the room to feel during breaks and how to maintain focus
• Establish how the SM supports the director’s vision (e.g., keeping the room cohesive, keeping breaks on time, etc.)
• Clarify the director’s preferred collaboration style: how to communicate, how to touch base, and how often to meet
• Negotiating daily routines: how to handle early starts, breaks, and potential extensions (e.g., a 20-minute break may extend to 30 minutes if needed)

Scheduling, pacing, and calendars

• Create three calendars to manage the process:
• a) rehearsal calendar (day 1 through open),
• b) performance calendar (previews through closing),
• c) big-picture calendar (designer run, tech, load-in, etc.)
• Format flexibility: calendars can be Google Calendar, a spreadsheet, or Word/Docs; readability and printability are key
• Calendar structure should be separate but complementary; production calendar is often provided by production management
• Calendar depth: avoid 12-page calendars on day one; keep them readable with crucial milestones and dates
• Example data to include: first rehearsal, designer run, tech, load-in, performance dates, show-specific times (e.g., multi-show days with two curtain times)
• Distribution and access: ensure the calendars are accessible to the right people; production management may supply core dates

The three-calendar approach in practice

• Rehearsal calendar tracks day-by-day rehearsal blocks from start to opening
• Performance calendar tracks previews, opening, and closing, including run times for each show
• Big-picture calendar (sits between design, tech, and production): includes designer runs, tech days, load-in, and other major milestones
• Formats can be adjusted to fit the theater’s tools; still needs to be readable and printable
• A calendars overview is often complemented by a more detailed list of due dates for design materials, designer runs, etc.

Documentation and records: what to create and why

• Contact sheets: centralize essential contact information for everyone involved
• Include: name, phone, email, pronouns (optional but helpful), role, and sometimes emergency contact
• Consider whether to include office location or addresses; modern practice often distributes through central systems rather than printed boards
• Cast and staff list: a version of the contact sheet without direct contact details for wider distribution
• Basis page: headshots with names and their roles on the show, useful for security and quick identification (especially on tours or public events)
• Prop list, prop preset, and prop plot: three-tiered approach to organizing props across scenes
• Prop list: what the prop is and where it starts
• Prop preset: what props are pre-set in specific places for scenes
• Prop plot: a scene-by-scene map of prop movement (what moves in/out, what’s flown, where things land)
• Ground plans and design materials: align with the ground plan from the technical director and any storyboard or renderings from the set designer
• Costume renderings and pieces list: track what each actor needs for their look in each scene; helps with shops and rehearsals
• Production book (production binder): the central reference containing the script with blocking sheets, call sheets, run sheets, and all essential documents
• Call boards: physical walls in rehearsal room with schedules, rules, company notices; also used to post design renderings and ground plans for quick reference
• Digital organization: most content can be stored in shared drives; hard copies are less common in the 21st century, but necessary if the venue requires

Production book and blocking documentation

• The production book centers on the script with blocking sheets for each scene
• Blocking sheets should be quick to read and easy to update; templates help with consistency
• Include key reference documents: contact sheet, calendar views (rehearsal and performance), and notes for each department
• Use the book as the primary tool to pull information during rehearsals and tech
• Consider whether you should maintain a hard copy for quick reference or rely on digital access; many SMs keep a laptop/tablet and a lighter set of printed sheets

Shaping information for the cast and creative team

• Early outreach to cast: introduce yourself as the point person (Stage Manager) and share the plan for Day 1
• Collect emergency forms from cast; ensure you have the right contact details and medical information
• Provide a clear first-day plan to the cast: meet-and-greet, company rules (via production manager), a read-through, followed by design presentations
• For performances or musicals, communicate day-one expectations (e.g., for musicals, when singing/dance segments begin)
• Consider sending an initial email with a concise plan and then follow up with a broader note if many questions arise

First day of rehearsal: room setup and logistics

• Prepare the room with tables and chairs for a read-through; later phases reduce furniture as staging begins
• Decide how to lay out the room with the director (facing mirrors vs facing away to minimize distraction)
• Check with the director on how to place actor chairs, scripts, and binders; some directors prefer individual binders for each actor with labeled seats
• Ground plan and call boards: post the ground plan, renderings, and key diagrams on the call boards for easy reference
• Establish space for hospitality and coffee, but discuss the room layout to avoid distractions during rehearsals
• Confirm labeling and seating plans to reduce confusion on Day 1

First-day rehearsal plan for cast and crew

• Send a concise plan covering: introductions, company rules, a debt reelection (likely a read-through or initial company talk), design presentations, and the first read-through
• For a musical, provide explicit expectations about vocal and dance sections on Day 1 or Day 2
• Share the plan for fall break or other breaks if relevant; address contingency plans for travel and time away
• Prepare “actor packets” that include hard copies of calendars, contact sheets, and other essential forms; many efforts are moving to digital delivery to save paper

First-day logistics and scripts

• Actors typically receive a script (electronic or printed); the general manager may handle contracts and advance scripts, with the SM supplying actor packets
• If actors are in town later, you may provide a binder or script at the table with name tags and seating plans
• The SM may curate who sits where to facilitate the first read-through and early blocking

Communication and collaboration with the director and others

• It’s a partnership: the SM should feel supported by the director and vice versa; establish mutual expectations
• Clarify what the SM needs from the director to succeed (on-time breaks, a disciplined room, etc.)
• Discuss how and when to touch base outside rehearsal time (end-of-day check-ins, pre-rehearsal meetings, etc.)
• Establish a process to escalate issues (e.g., if a designer or technician is hard to reach, involve the production manager or department heads)

Practice, pace, and rehearsal structure specifics

• The director’s preferred rehearsal pace: straight six (six hours with a 20-minute break), or other structures; dean-level variations abound, especially with musicals
• If a 20-minute break is planned but the day runs long, the director may allow the break to extend to 30 minutes to accommodate needs
• When a run is planned (e.g., Act One by a certain time), the SM tracks progress and raises concerns if the schedule slips; the director and SM discuss options (re-targetting work, re-scheduling runs)

Early risk management and ongoing checks

• Regularly assess how things are going with designers, shop heads, and production management; initiate meetings if communications lag
• Check whether there is adequate support and whether any personnel have not yet been engaged (e.g., sound designer) and coordinate with the director and PM to resolve
• If a cast or crew member is new, gather preferred collaborators or notable strengths from the director to help smooth casting and rehearsal dynamics
• Identify potential schedule conflicts (e.g., class times) and plan around them; adjust daily calendars accordingly

The role of the director–SM relationship in practice

• The SM asks what the director needs to feel supported and how the SM can keep the director on track; this is the backbone of a productive collaboration
• The SM is responsible for keeping the director on schedule, reminding about pacing, and suggesting adjustments when needed
• The SM may propose pre-briefs to avoid interruptions and to streamline communication during busy days

The SM’s operational toolkit: templates, templates, templates

• Call sheets and daily call sheets: specify who comes when, when meals occur, and where people should be; includes show title and relevant details to prevent confusion
• Rehearsal reports: capture what happened in rehearsals; format may vary by theater; check with production management for preferred template
• Run sheets and preset sheets: outline what happens in each segment of the day; used during tech and run-throughs
• Reversal reports: post-rehearsal notes by department; track progress and plan for the next day; include success notes and upcoming tasks
• Interim stage measurements and production meeting notes: capture decisions and actions for ongoing coordination
• Distribution lists: who receives what; many theaters publish distribution lists in a central place (e.g., the SM Blackboard site) to avoid mis-sending confidential information

Distribution lists and confidentiality

• Distribution lists specify which departments and individuals receive rehearsal and performance reports
• Some theaters separate distributions (e.g., admin vs. shop vs. marketing) to avoid over-sharing
• The SM should confirm who needs which reports (rehearsal vs. performance; company-wide vs. department-only) and ensure only those on the list receive them
• A cautionary note about sensitive information and proper handling of documents; avoid posting private contact details publicly

The 21st-century production book and digital workflow

• Production book can be digital (shared drive) with a lighter printed set for quick reference
• The SM collects and consolidates documents (blocking script, call sheets, run sheets, etc.) for easy access
• After a show closes, archive the production book digitally (Dropbox/OneDrive/Google Drive) for future reference or remounts

The preproduction timeline and compensation realities

• In drama departments, a typical preproduction window might be around two weeks to build and set up; in professional contexts, preproduction may be about one week and may be compensated
• The preproduction period often includes securing housing and space preparation; some theaters contract for a preproduction beat or additional pay for the extra time
• During preproduction, stage managers may negotiate for time and a defined boundary for responding to emails, with caveats for urgent matters

Practical tips and anecdotes from the field

• Tape-out and room layout: discuss ground plans, pillar placements, mirrors, doors, and any space constraints with the director; tailor the rehearsal room layout to the show’s needs
• Call boards and signage: post directions to rehearsal spaces and important spaces to help cast navigate a new building
• The value of a “face sheet” (basis page) for road tours and visitors to quickly identify people on site
• When the rehearsal day includes multiple rooms or parallel tasks (costume fittings, dialect work, etc.), use color-coding and clear timing to keep everyone aligned
• The importance of a well-structured day with a clear plan for the first day to minimize confusion and maximize productivity

Practical templates and where to find them

• The SMBFA Blackboard site provides templates and examples for rehearsal and performance documentation
• Example schedules and run sheets (e.g., for Murder on the Orient Express) illustrate how to log multi-room activity, break times, and cross-department work
• The template approach helps students learn to adapt templates to their theater’s needs, while keeping a consistent structure across productions

Final preparation for the upcoming assignment

• There is a rehearsal calendar assignment in the Blackboard course: map out every day from September 12 to November 1, including hours per day following reversal hour guidelines
• The calendar should be readable, printable, and use a consistent format; three calendar views (rehearsal, performance, overview) are recommended
• Include the maximum hours per week (per department guidelines) and daily start/end times; ensure you cite the department’s reversal hour limits
• The file should include your name in the filename for submission
• Templates are available for download; you can use Excel, Google Sheets, or a Word/Docs template and convert as needed

Quick wrap-up and next steps

• The dialogue around mood boards and mood creation was mentioned as a separate topic to explore next
• The overall workflow centers on thorough communication, organized documentation, and proactive planning with the director and design teams
• If you have questions about specific formats or templates, consult the production manager or the department templates on Blackboard

Short glossary of key terms from the transcript

• Straight six: a six-hour rehearsal block with a short break, typically around 20 minutes, though it may be extended to 30 minutes if needed
• Designer run: a run of the show focused on design elements (lighting, sound, set) prior to tech
• Ground plan: floor plan showing stage and set placements; used to tape out the space
• Call sheet: daily document listing who is called to rehearsal or performance and the location/time
• Rehearsal report: summary of what happened in rehearsal, notes for improvements, and department-specific actions
• Reversal report: a department-focused recap at the end of the day to track what happened and what’s next
• Basis page: a headshot-style sheet listing people and their roles for quick recognition and security
• Prop plot/preset/list: three-part system detailing props in use, pre-set arrangements, and their movement across scenes
• Production book: the central binder/digital folder containing script, blocking, calendars, and all essential show notes
• Emergency form: cast-provided medical/urgent contact information for safety and planning

Note on the broader aim

• The notes emphasize a proactive, collaborative approach to preproduction and rehearsal management, ensuring the SM can anticipate needs, facilitate communication, and keep the director and designers on track while supporting the cast during a productive rehearsal process