THE PTG STAGE MANAGERS

HANDBOOK
Adapted from The Stage Managers Handbook: Eldred Theatre, Case
Western Reserve n!vers!t", #o$rth Ed!t!on%
Compiled by Matthew Eckstein
For more information, please see the following books:
Stage Management, by Lawrence Stern
The Stage Management Handbook, by Daniel Ionai
The !ack Stage "#ide to Stage Management, by Thomas $elly
Defining a Stage Manager
The Stage Manager is the individual who accepts active, not passive, responsibility for
the smooth running of rehearsals and performances both onstage and backstage.
eyond me, the buck does not pass!" #ou are the communications hub for the
production, making sure that everybody involved knows what they need to know, when
they need to know it. ecause everyone will be coming to you for answers to their
$uestions, you need to know everything there is to know about the production, or at least
how to find the information. The Stage Manager%s duties are really two&fold.
'( )ntil *pening +ight, he or she makes the director%s life as easy as possible.
,e-She must be the director%s right hand at every step, and make life as easy for
the leader of the creative team as he can, reflecting his approach to the play,
spotting trouble before it develops and staying well ahead of the cast and the
director in bringing people, furniture, and props to the ready.
.( /s of *pening, he-she runs the entire backstage, maintaining the performance to
the e0act pattern the director has set in rehearsals.
The %ssential &#alities of a "ood Stage Manager
1 2ood Stage Managers should always assume responsibility.
1 2ood Stage Managers keep their cool.
1 2ood Stage Managers keep their mouths shut and their eyes open.
1 2ood Stage Managers are always prepared for anything.
1 2ood Stage Managers are considerate, have a sense of humor, are organi3ed,
efficient, punctual and dependable.
.
4ollowing in this manual are procedures and methods, which have evolved over the years
in producing theater on Eldred%s black bo0 stage. ,elpful forms are located in the
/ppendi0 at the end of this manual.
There are a couple of points that are difficult to list or catalogue. 5erhaps the most
important one for a new Stage Manager to reali3e and to come to grips with is the
position of authority and control that has been vested in you. The Stage Manager speaks
for the director of the production and fre$uently speaks as a representative of the
organi3ation itself. The Stage Manager must assume this responsibility with humility and
finesse. #ou must always be tactful, diplomatic and polite. 4re$uently, situations arise
due to stress and work that will ta0 you to the nth degree of your patience. 6t is up to you
to act the professional. Saying 7thank you% and 7please% will get you further than barking
or sulking. 6t is up to you to make the process work.
8on%t feel totally out on a limb, or on the edge of a cliff. There are people ready to help
you out, including the e0ecutive board, and especially the technical director 9vice
president(. 8on%t feel like you will be considered a poor stage manager for asking
$uestions. 6f you don%t ask, the other members of the production team will not know how
to help you. :emember, theater is a collaborative art, a team effort.
;
're('rod#ction )hecklist
'. *c+#ire a Script
.. ,ead the Script
o 4irst :eading < read to get an understanding of the plot, characters, and theme9s(.
o Second :eading < underline any special effects, set problems, light and sound cues. Make
list of props to discuss with director.
o :e&:ead script until totally familiar with it.
o 6f the director does not complete a scene breakdown, make a 4rench scene breakdown to
create a rehearsal structure. 2ive copy to director.
;. *#dition 'rocess
o 6f appropriate < The Stage Manager would run the audition process. Check with your
director to see if they would appreciate the help.
o 6f applicable, see /ppendi0
=. 'ass -#t Scripts
o +umber all scripts for tracking purposes.
o 5ass out scripts to the director and designer9s( and to cast members.
o :ecord the name of the person assigned to each script 9include telephone > and email(.
?. Make a 'rompt !ook
o *n the inside cover of the binder, place your name, address, telephone number and the
following note@
6f 4ound 5lease :eturn 6mmediately To@ 5layers Theatre 2roup, Case
Aestern :eserve )niversity, 'BCBB Euclid /ve. Cleveland, *, =='BD"
o / detailed outline for making a prompt script is found in /ppendi0
o Make a master calendar of all days between the first production meeting and strike, see
/ppendi0 for e0amples of a master calendar.
o Make a contact sheet, which is a list of all production staff, actors, and crew < 6nclude
names, email addresses, and telephone numbers. See /ppendi0 for an e0ample.
o 6nclude a list of all emergency procedures and numbers at the front of the prompt book.
./ *c+#ire *ccess
o The director should ac$uire a key, however building security is everyone%s responsibility.
/s a 5T2 production, you have access to the black bo0 theatre and its tech booth.
o 6f re$uired, get the 5T2 booth lock bo0 key from the technical director.
E. Meet 0ith the Director
o /sk about the rehearsal process.
o /sk about the rehearsal schedule.
o 4ind out if the director needs special props, costume pieces, etc. for rehearsals.
o 4ind out about any other special re$uirements for the production
F. First 'rod#ction Meeting
o #ou should organi3e and run this meeting.
=
o Take note of ideas brought forth by the director and designer9s(. 4or E0ample@
Special props needed for rehearsals
Aork deadlines
Special costume and set problems
/ special sound cue tape
Complete telephone numbers and email addresses of staff
,ehearsal 'rocess )hecklist
!efore the First ,ehearsal
o Set up your stage manager%s kit 9see appendi0 for a suggested list of included items(
o Copy scaled floor plans for the prompt script 9available from the 5T2 website(.
o /rrange and write a property list. :eview with director, scenic designer, and prop crew.
See /ppendi0 for property list form.
o Check whether the director wants open or closed rehearsals.
o Gnow the materials@ script, set, costumes, props, and schedule. e prepared to answer
$uestions. 8o not be snotty or sarcastic. /nswer calmly and honestly.
o e prepared to review lines or scenes, should the director be delayed, if re$uested to do
so by the director.
o 6nform the production staff of run&throughs, so that they can plan to attend. Each crew
member is re$uired to attend at least one of these run throughs.
*t the First ,ehearsal
o 2ive tour of the theater. Make sure the cast and crew know the layout of the building.
o 6nform cast, crew, and staff of rules and regulations as noted in /ppendi0
o Establish regulations of tardiness or conflicts. Stress the importance of notifying you
early of any possible difficulties@ classes, sickness, and possible tardiness. 6t would be
appropriate at the first read&through to hand out a conflict sheet for the production. See
/ppendi0. 6t is better to know beforehand so that you can suggest possible alternatives to
the director for rehearsal. #ou can help solve potential problems before they arise if you
are informed.
o ,and out contact sheets to cast, crew, and production staff.
o Establish a method of prompting. /re lines to be letter perfectH Ahen are corrections to
be madeH ,ow are prompts called forH See 5rompt :eport 4orm in /ppendi0.
're(,ehearsal
o /rrive at least a half&hour before call.
o Make sure all areas that are to be used are open before cast-crew arrive.
o /sk directors if they want breaks of ? minutes for every ?? minutes of rehearsal or 'B
minutes for every FB minutes of rehearsal 9as noted in /ctors% E$uity :ules(.
'
o Geep staff informed of progress of production.
'
/ccording to /ctors% E$uity /ssociation :ules and :egulations Section ;., Subsection 92(@ E0cept
during dress rehearsals, there shall be a rest period of five 9?( minutes after no more than fifty&five 9??(
minutes of rehearsal or ten 9'B( minutes after no more than eighty 9FB( minutes of rehearsal for each E$uity
member. 4or each failure to give such rest periods, the Theatre shall pay each /ctor one 9'( hour of
overtime.
?
D#ring ,ehearsal
o +otate all blocking given by the director to the actors. #our blocking will serve as the
7official% blocking until changed or altered by the director. )se the copied floor plan to
show positions of actors and movement patterns. +otate in the script the line 9word or
phrase( where the movement begins and place corresponding moves on the floors plan.
Mark all changes to the blocking in the prompt script. Geep your blocking current.
o )se copied floor plans to show positions of actors and movement patterns.
o +otate in the script the line 9word, phrase( where the movement begins and place
corresponding notes on the floor plan.
o Mark all changes in the script and make sure blocking is 7set%.
o Make sure building is secure during rehearsal times.
o Geep a list of all possible changes, ideas, or comments that the director makes, so as to
inform the staff members concerned. 4or e0ample@
'ost ,ehearsal
o Complete a rehearsal report and make sure the affected personnel receive a copy 9in
written form( the first thing ne0t morning 9personally or by email(. See /ppendi0 for
copy of :ehearsal :eport 4orm.
o Copy all notes for your records.
o Secure the building
o Clear away and store all props from the rehearsal area.
o :efer to /ppendi0 for Security 2uidelines.
'hoto )all
o 6n conIunction with the director, technical director, in$uire about the procedure for photo
call.
o Establish set&up shots with director.
o This session can be long and tedious. The SM should keep the process moving as
$uickly as possible. ,elp the photographerJ communicate needs to cast, crew, and staff.
Tech 0eek )hecklist
'rior to Le1el Set
o Meet with director and lighting designer to establish cues, see /ppendi0 for cue sheet.
o Meet with director and sound designer to establish sound cues, see /ppendi0 for cue
sheet.
o Meet with the technical director and sound crew to learn how to set up, turn on-off, and
all other operations of sound-communication systems.
o Check that all headsets and communication systems are operational.
o Make sure light and sound operators 9if applicable( are ready to start at scheduled time.
o 6nvite and encourage 5T2 e0ecutive board members to attend.
o 8iscuss any scene shifts with the technical director and the director
o Establish a shift plot with the assigned crew.
o #ou may want to schedule a shift rehearsal to familiari3e crew with the correct methods
for set&ups, shifts, and storage. E0plain to the company where they can and cannot be
D
during shifts.
o ,ave necessary tools available when needed. i.e. c&wrenches, flashlights, and storage.
First Technical ,ehearsal
o 5ost a Sign 6n Sheet 9Shown in /ppendi0 4(, and make sure everyone is aware of it.
o Set up a stage time and crew call < allow time for familiari3ation with set-set&up.
o Make sure that the /SM and crews are prepared.
o 5repare backstage and set with luminous tape or guide lights.
.
o ,ave crew heads check that all systems are operational@ sound, lights, work&lights, walkie
talkies 9if you are using them(, and any scenic technology
o :un a cue&to&cue, a rehearsal in which all cues are run, with only the action immediately
before and after each cue. Stop and correct problems before going on. Make sure
everyone involved understands what the problem was, what the solution is and then run it
again. 8on%t gloss over mistakes.
o e open to possible solutions from the designers, T8 or the director if you draw a blank.
Everyone is out to make this the best production possible.
o Gnow where potential dangers lie and be knowledgeable about safety procedures. Gnow
emergency escape routes and procedures.
o Meet with 5T2 e0ecutive board to inform them of running time, intermissions, and any
unusual situations with the show 9strobe lights, smoking, etc(.
o Establish call for the remainder of the tech rehearsals and the run of the show.
o 5ost and distribute lists of calls to all cast, crew, and staff.
o KK,old a production meeting following the rehearsal with the director and designersKK
First Dress ,ehearsal
o Establish calls, pre&sets, and $uick changes with the costumer designer and crew head.
o Make sure stage has been swept and damp mopped before the first dress rehearsal.
o Complete a check of all systems, pre&sets, and scenery with the /SM. See production
checklist e0ample in /ppendi0
o :un show as close as possible to performance conditions. /lert your cast, crew, and the
director to this. y second dress, the flow of the show should not be stopped < for any
reason other than a maIor catastrophe. )sing all of your tact and charm, inform the
director that any notes he-she might have will be solved at the end of the rehearsal. This
might necessitate working problems at the end of the rehearsal. /t this point in the
production process, it is essential that all members of the company get a feel for the show
in performance.
o Aatch the show, check promptbook against stage action, be aware of what is going on.
o Make sure all calls are clear to the cast, crew, and staff. /nnounce and post ne0t call.
o KK,old a production meeting following the rehearsal with the director and designersKK
o 2ive any technical-run notes you may have to the cast and crew.
.
/ccording to /ctors% E$uity /ssociation :ule and :egulations Section =F, Subsection 9E(@
/ll ramps, stairways, levels or platforms higher tan three 9;( feet, entrances and e0its, crossover areas, or
off&stage passageways, which may be affected by blackouts, shall be illuminated with guide lights or
luminous tape. 6n arena theaters there shall be two 9.( guide lights on the edge of the stage and one C'( on
each side of every ramp leading to the stage. 6n addition, there shall be a guide light on each side of the
aisle adIacent to the first row of seats of every aisle, and there shall be a warning light at eye&level on both
sides of every pole located in an aisle, or any other obstruction in an aisle, which E$uity shall deem to be
inIurious or unsafe, and there shall be side rails on any ramp adIacent to any pit, and level guide lights on
stage along the edge of any pit.
E
o 4ill out daily rehearsal-performance reports.
o Check with crew heads and /SM for problems or notes.
o ,ave all e$uipment stored, light board and sound system turned off.
o ,ave all crew heads check with you before they leave.
o Make sure all lights are turned off.
o Lock up all areas of the theater building.
'rod#ction )hecklist
0orking with Ho#se Management and '#blicity
o 4ill out program copy work sheet, see form in /ppendi0 and give it to the 5T2 Secretary
o /sk director if he-she would like to write a program note, and send it to the 5T2
Secretary
o 6f working on a straight play, hand in synopsis of scenes including any location or time
changes to 5T2 Secretary
o 6f working on a musical, hand in a synopsis of scenes and musical numbers.
're('erformance
o /rrive ;B minutes prior to the earliest call.
o 4ollow checklist procedure used for tech and dress rehearsals.
o Check with house manager on your way into the theater.
o Check the sign in sheet to make sure everyone is present, make calls to late actors.
o Contact the ,ouse Manager to give *G to open the house, and before curtain.
o 2ive company calls as follows@
,alf&hour before curtain time < The ,ouse is *pen"
'? minutes to curtain
? minutes to curtain
5laces
o /t hour call or actor call, collect valuables from each actor. 5lace in individuali3ed
baggies 9large si3e( with name, then store in the booth.
o Make sure actors are in place prior to curtain.
'erformance
o Call the show as it is written in the prompt script.
o 4ill out daily stage manager%s report.
o 8uring intermissions, check with the house manager before calling places.
'ost('erformance
o :emind the company of all calls for the following day.
o 4ollow clean&up, check&out, lock&up procedures established earlier in this manual.
F
)losing )hecklist
Strike
o *ll cast and crew are re+#ired to strike/
o Clean up your areas and take down the sign&in sheet and all information from the Call
oards.
o The black bo0 should be painted black, props and costumes returned to their home, and
the space should look nicer than you found it. 5T2 has more e0tensive policies regarding
strike that are described in the director%s packet.
C
Append!& A
/uditions
*nce auditions begin, the stage manager, like a good operating&room nurse, has the
necessary implements in the director%s hands before he asks for them.
#ou should book the audition area 9typically the lack o0(. Ensure that it is clean,
$uiet, and heated 9or cooled( for everyone%s comfort. The area in which the actors will
appear is well lighted and set with several chairs. The director should have an uncluttered
area in the auditorium or toward the back of the audition room, with a small shaded light,
enough to give him illumination but not enough to distract the actors when he takes notes.
,e has sharpened pencils and a list of the characters to be castJ the stage manager makes
sure the director has his script 9many directors constantly misplace this most necessary
tool(, and a pitcher of water and a glass if they feel like being e0tra&considerate.
Most directors will want to say a few words to the applicants before beginning auditions.
/t that time, the stage manager will shepherd all actors into the audition area, whether or
not they have finished their applications, to hear the director.
6f an actor e0presses a need to leave early, the stage manager finds out if the director
wants to hear the actor againJ if not, he dismisses the actor cordially.
4ollowing the audition, the stage manager keeps the administrative paraphernalia with
him and gives the director the cards he needs for referral in the time before the ne0t
auditions.
/sk your director for their personal preference regarding auditions. :emember every
audition is different.
'B
Eldred Theater A$d!t!on #orm
+ame@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM
/ddress@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM
Telephone@ MMMMMMMMMMMMMMMMMMMMM Email@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMM
#ear and MaIor9s(@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM
,eight@ MMMMMMMMMMMMMMMMM ,air Color@ MMMMMMMMMMMMMMMMMM Aeight@ MMMMMMMMMMMM
:ecent Theater E0perience@
*ther 5erforming E0perience N Special Skills 9singing, Iuggling, musical skill, etc.(@
222'ossible ,ehearsal )onflicts222
Check if interested in@
9 ( Lighting Crew
9 ( Set Construction Crew
9 ( Sound 8esign-*peration
9 ( Costume Crew
9 ( /sst. Stage Manager
9 ( /sst. 8irector
''
Append!& '
Making a 5rompt ook
To make a prompt book you will need a ." binder and a set of tabs.
5hotocopy the script onto F" by ''" sheets of paper, one side only. #ou can also enlarge
the script on the copy so it is easier to read in the dark, or leave it as it is in order to leave
more room for diagrams and cue markings.
Make tabs for each scene or 4rench scene so that you can $uickly turn to any scene
without thumbing through the script. #ou can purchase tabs at the ookstore 9or any
*ffice Supply store( or you can make your own using tape. Each tab should be labeled.
5lace the scene tabs on the last page of the previous scene, not the first or second page of
the scene, so that the tabs will open your script properly, with the desired scene
immediately displayed.
:ehearsal schedules, pronunciation guide, plots, set sketches and cast lists should also be
tabbed so that you can turn immediately to whatever information you might need during a
rehearsal without wasting time by shuffling through a lot of paper.
The prompt book should contain all blocking notation in addition to cue and warn marks.
Cue and warn marks should be made initially in pencil, but by preview should be written
over with pen so as to stick out better in the dark booth. #ou may also choose to highlight
your cue and warn marks to make them even more obvious.
6magine that your prompt book is actually for somebody else who needs to call the show.
6t should be readable by anyone who would come across it with little trouble. 4or
e0ample@ if you have established your own method of coding your cues, write what the
codes mean in the margin of the first page.
*nce dress rehearsals have begun and you have moved into the booth, you should leave
your promptbook locked inside the booth for safekeeping.
To view previous e0amples of prompt books contact the technical director of 5T2.
'.
Append!& C
Making a Master Calendar
Time, management of time, and the coordination of the cast, crew, and staff are
very important to every theater. 6n order to keep everyone on time and their efforts
meshing smoothly, it is desirable to post a master calendar < and only one master
calendar < in a convenient place so that it is available to everyone on the staff. The
master calendar can be your most effective tool for coordinating the staff.
The master calendar should be large enough so that several lines can be written
legibly in the space allotted for each day. 6t should, of course, be developed after
consultation regarding the needs of producer or management, department heads in
various phases of production, and above all, after conferring with the director. The
calendar should list many of the following kinds of events@
o 8eadline for set drawings- line drawings
o 8eadline for lighting plans
o :eadings-/uditions
o 4irst :ehearsal
o /ll Subse$uent :ehearsals
o Aork Calls
o 5roduction meetings
o 8eadlines for line memori3ation
o 8eadline set completion
o 8eadline for completion of sound effects
o 4ocus of lights
o Costume 4ittings
o 5hoto Calls
o 4irst Tech :ehearsal
o Second 8ress
o *pening +ight
o /ll performances
o Closing +ight
o Strike
';
The master calendar should not be placed on the callboard or made available to
the cast under normal circumstances. 6t is kept away from the cast members so that
actors do not become confused about their rehearsal schedule or concerned about
technical difficulties. /ll information that cast members need from the master calendar
should be made available to them by other means, particularly the rehearsal schedule.
Site for calendar templates@
http@--office.microsoft.com-en&us-templates-CT'B'B=;';'B;;.asp0
#ou might also consider using 2oogle calendars.
www.google.com-calendar. *r, from the address http@--webcalendar.case.edu, you may
use your Case 68 to sign in.

Append!& (
The Laramie 5roIect Contact 6nformation
Cast
3ame )haracter 3ame 'hone 3#mber %mail
art Geyes 2reg 5ierotti .'D&E.'&;.BF brkFOcase.edu
ethany Tinlin arbara 5itts .'D&E?=&;;D' bItDOcwru.edu
Erin unting /manda 2ronich ='C&D?D&EBEC thebuntingsObuckeye&e0press.com
Matthew Ahilden Pohn Mc/dams .'D&E?=&''?' mwwFOcase.edu
Meg Auerderman Mercedes ,errero .'D&E?=&'C'D mcw';Ocase.edu
:yan Santa /ndy 5aris .'D&E?=&';E= rps';Ocase.edu
Susannah ,andley Gelli Simpkins .'D&E?=&.?'; srh'DOcase.edu
TP 2ainley Stephen elber .'D&E?=&.'FC tIg'FOcase.edu
5roduction Staff
'ersonnel 3ame 'hone 3#mber %mail
8irector Stephen McCue ;DF&.F?F smshoreOadelphia.net
Stage Manager Lindsey Mc2owen cell@ .'D..DC..?;F
home@ .'D.EC?.B;;;
ldmCOcase.edu
/ssistant 8irector 5eter +alepa E?=&.=.. pan?Ocase.edu
Technical 8irector ,omer 4arr ;DF&=FEB hIf.Opo.cwru.edu
5roduction Manager Scarlett 2rala ;DF&=FDF ksgOpo.cwru.edu
Scenic 8esigner :uss orski ;DF&?C.E r0b;;Opo.cwru.edu
Costume 8esigner Gathleen urke Clay ;DF&.F?D k0c=FOpo.cwru.edu
Sound 8esigner Posh Senick .;;&C=FC I0s'F'Opo.cwru.edu
Lightboard *perator Pessie :udolph E?=&'C=; Irr'BOpo.cwru.edu
sef$l )nformat!on
%mergency 3#mbers:
Campus Security@ ;DF&;;;;
)niversity Circle 5olice@ ;DF&....
4or medical emergencies@ C''
%ldred 'hone Lines: Lobby @ ;DF&=C.B
Clark :ehearsal ,all@ ;DF&'DBB
o0 *ffice@ ;DF&D.D.
usiness *ffice@ ;DF&=FDF
To #se camp#s phones:
4rom yellow call bo0es and office phones@
o dial E" then the last four digits for E?=" numbers
o dial the last four digits for ;DF" numbers
o dial C" for off campus numbers
4rom dorm rooms@
o 8ial last four digits for E?=" numbers
o 8ial F" then last four digits for ;DF" numbers
o 8ial C" for off campus numbers
Security@ ;;;;
o #ou can call security for an escort, to check buildings, if you have car trouble, or if any other
emergency or concern arises. 6n an emergency press the :E8 button from any callbo0.
0here to find food:
Qand use your campus points@ +ord ,all 9Einstein%s agels( open 7til ?@BB
Tomlinson ,all 92rill, 5i33a( open 7til ;@BB
Aackadoo%s 92rill, 5i33a( open 7til midnight
S/2ES CafR 9coffee( open 7til C@BB
/rabica 9coffee on Puniper( open 7til '' l
ater on weekends
Sears Sending Machines < card access through +ord
Qafter rehearsal@ within Aalking 8istance@
Chopstick < Euclid-Mayfield
Tui3nos < Euclid-Mayfield
:ascal ,ouse 5i33a < Euclid-Mayfield
Starbucks < Cedar-4airmount
Salentino%s 5i33a < Murray ,ill 9EC?&B=D;(
Mama Santa%s < Mayfield 9.;'&C?DE(
)niversity ,ospitals /trium 9cafeteria(
8elivery@
Captain Tony%s 5i33a 9;.'&T*+#(
8omino%s 5i33a 9E.'&BB;B(
/ma3ing Aok 6 9.=C&;C;;(
/ma3ing Aok 66 9;CE&F.F.(
Qwhen pi33a isn%t going to cut it
visit www.delivermefood.com for a variety of restaurants that offere take&out < a reasonably
priced courier service is also available.
I need soap4
Aalmart 9at Severance Center( ;DBD Mayfield :oad
2iant Eagle '.=;F Cedar :oad 9within walking distance(
Tops ;D.F Mayfield :oad
Target )niversity S$uare 9Cedar-Aarrensville Center(
Append!& E
Stage Manager%s Git
Main )omponents
Tools
First aid supplies
Offices supplies
Writing utensils, etc.
5rompt book
+ote 5ad
SM ,andbook
4older
;&,ole punch
$uarters
stop watch
Tools
Screwdriver w- interchangeable bits
Set of small screwdrivers
/llen wrench set
5liers
Tape measure
0&acto knife
various nails and screws
maglite 9or other small flashlite(
-ffice S#pplies
8ots 9for cues(
5ost&it notes
5ost&it flags
5aper clips
+ote paper
8uct tape
8ouble sticky tape
Scotch tape
Masking tape
Spike tape
2low tape
5ush pins
Safety pins
Super glue
0riting #tensils, etc/
Several colored pens
5encils
,ighlighters
Scissors
Staples
62 eraser
Sharpie
E0tra pencil lead
E0tra pencil erasers
5encil sharpener
First aid s#pplies
Tissues
and aids 9strips and patches(
Medical tape
Mirror
Tylenol N 6buprofen
Midol
Cold medicine
/ntacid
Cough drops
Emery board
+ail clippers
4irst aid booklet
Twee3ers
Shout wipes
Sewing kit
/ntiseptic cream
reath mints
/llergy medicine
arrettes
,air ties
Lip balm
Append!& #
Mens Meas$rement Sheet
+ame@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM8ate@ MMMMMMMMMMMMMMMMMMMM
5lay@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM 5hone@ MMMMMMMMMMMMMMMMMMM
:ole@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM Email@ MMMMMMMMMMMMMMMMMMM
,eight@ MMMMMMMM Aeight@ MMMMMMMM Chest@MMMMMMMMM Aaist@MMMMMMMMM ,ips@MMMMMMMMMM
MMMMM Mid&neck
MMMMM neck base
MMMMM shoulder length MMMMM high hips
MMMMM across shoulder fr. MMMMM hips
MMMMM across armseye fr. MMMMM waist to knee-outseam
MMMMM across chest fr. MMMMM waist to mid&calf-outseam
MMMMM Chest MMMMM waist to ankle-outseam
MMMMM chest e0panded MMMMM waist to floor-outseam
MMMMM neck to waist front MMMMM inseam to floor
MMMMM across shoulder bk. MMMMM thigh
MMMMM across armseye bk. MMMMM above knee
MMMMM neck to waist back MMMMM below knee
MMMMM underarm to waist MMMMM calf
MMMMM waist MMMMM ankle
MMMMM sleeve length MMMMM half girth-rise
MMMMM shoulder to elbow MMMMM girth
MMMMM shoulder to wrist MMMMM crotch depth
MMMMM underarm to wrist MMMMM head circumference
MMMMM armseye MMMMM ear to ear
MMMMM bicep S!*es
MMMMM forearm Shirt MMMMM 'ants MMMMM *llergies5MMMMM
MMMMMwrist S#it MMMMM 'ierced %ars5MMMMM
MMMMM hand Shoe MMMMM Hat MMMMM
Tatoos MMMMM "lo1e MMMMM
Womens Meas$rement Sheet
+ame@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM8ate@ MMMMMMMMMMMMMMMMMMMM
5lay@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM 5hone@ MMMMMMMMMMMMMMMMMMM
:ole@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM Email@ MMMMMMMMMMMMMMMMMMM
,eight@ MMMMMMMMAeight@ MMMMMMMM ust@ MMMMMMMMMAaistMMMMMMMMMMM ,ips@MMMMMMMMMM
MMMMM Midneck MMMMM wrist
MMMMM neck base MMMMM hand
MMMMM shoulder length MMMMM high hips
MMMMM across shoulder fr. MMMMM hips
MMMMM across armseye fr. MMMMM waist to knee-outseam
MMMMM across bust fr. MMMMM waist to mid&calf-outseam
MMMMM bust MMMMM waist to ankle-outseam
MMMMM bust e0panded MMMMM waist to floor-outseam
MMMMM under bust MMMMM inseam to floor
MMMMM point to point MMMMM thigh
MMMMM center shoulder to point MMMMM above knee
MMMMM neck to waist fr. MMMMM below knee
MMMMM across shoulder bk. MMMMM calf
MMMMM across armseye bk. MMMMM ankle
MMMMM across chest back MMMMM half girth-rise
MMMMM neck to waist back MMMMM girth
MMMMM underarm to waist MMMMM crotch depth
MMMM sleeve length 9O neck base( MMMMM head circumference
MMMMM shoulder to elbow MMMMM ear to ear
MMMMM shoulder to wrist S!*es
MMMMM underarm to wrist !lo#se MMMMM 'ants MMMMM
MMMMM armseye Dress MMMMM !ra MMMMM
MMMMM bicep Shoe MMMMM Tights MMMMM
MMMMM forearm Tatoos MMMMM "lo1e MMMMM
*llergies5MMMMM 'ierced %ars5MMMMM
'rop List
'rop Scene6'age )haracter %nter %7it ,ehearsal *ct#al
4urniture

'rop List
'rop Scene6'age )haracter %nter %7it
Stage Left 'rop Table
Aarrant '.; :ichard 8L Trap
2i3mo Mask '.' :ichard 8L
2avel ;.= ,astings )L 9crew(
,astings% ,ead ;.? rackenberry )L )L
ottle of lood ?.; 2host of :ivers )L :
ottle of lood ?.; 2host of uckingham )L :
Stage ,ight 'rop Table
riefcase 9hardside( ..; Citi3en ; 9Sieva( ): )L
Pump :ope ;.' ,astings ): )L
Shuffle oard Stick ;.E Mayor ): )L
ag of 5opcorn ;.E Citi3en 9Tom( ): ):
4urniture

)onflict Information Sheet
*ctor )onflict Date )onflict Time
)onflict Information Sheet
*ctor )onflict Date )onflict Time
Stanford Chen
6an Mc6ntire Sundays /fter E@BB
8avid Eshelman Sundays /fter E@BB
Uac Crofford Sundays /fter E@BB
:ick Merrick Sept. =&E /ll day
Steve ,igginbotham C-C and C-'B /ll day
Gelly ,ill Sept. '' /ll day
Mary /lice eck C-'E&'C )ntil F@;B
Susan Lucier Sept. F )ntil F@;B
Tom 5arrish C-'' and C-;B )ntil C@BB
rad ower C-= & C-E /ll day
Mon. N Aed. until C-'D D@;B < E@;B
Laura Aittenberg C-.' and C-;B /ll day
Lia erlin Thursdays
Line 3otes
:ehearsal 8ates@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMM
/ct-Scene@ MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM
Character Line > Code #ou said@ :eal Line@
5roblem Codes@
T < Transposed T5 < Transposed 5hrases
V < Skipped K && :epeated Error
/ < /dded 5 < 5ronunciation
S < Substituted 2M < 2enerally Messy
,ehearsal ,eport
5roduction@ 8ay@
Stage Manager@ 8ate@
Location@ :ehearsal +umber@
Summary Late /ctors
Misc. +otes
Costume
Set 5rops
Lights Sounds
,ehearsal ,eport( %7ample
5roduction@ #ou Can%t Take 6t Aith #ou 8ay@ Sunday
Stage Manager@ Tracy LIung 8ate@ C-';
Location@ 2reen :oom :ehearsal +umber@ ''
Summary
D@=?&E@.B Aork p. DB&D;
E@.B&E@;B reak
E@;B&F@?? Stumble through /CT 66, off book
F@??&C@B? reak
C@B?&C@.B 8iscuss Schedule
C@.B&'B@'B Aork p=E&D;
Total :ehearsal Time@ .@?B
Late /ctors
Misc. +otes
.
nd
guest artist Time 5erfect as Ed
Schedule Changes wk. of C-.B
C-.B@ Aork '..
C-.'@ :eview /CT 66
C-..@ :eview /CT 666
C-.;@ Aork /CT 6
Costume
Essie needs pocket for glasses
Set 5rops
Par of 75ickled pig%s feet"
Lights Sounds
Easel bumping down stairs 9p. =F(
Lighting )#e Sheet
'age )#e Line L& 3otes
Lighting )#e Sheet
'age )#e Line L& 3otes
F Wbefore house opensX ' 5re&Show
F WplacesX ,ouse to ,alf
F Wready to startX ,ouse *ut
F Wfollowing house outX . w- music change
F Wuff and Peff EnterX ;
'F Later 9Peff( = Aarn ?
'F W/ctors in 5lacesX ? Aarn D, w ST
'F Gnife in my hand 9Soo3e( D w- ST fade
.=
W5akee3a knocking over displayX
E
.= W4ollowing EX F
.= W4ollowing FX C w- STL
So#nd )#e Sheet
'age )#e Line So#nd Le1el 3otes
So#nd )#e Sheet
'age )#e Line So#nd Le1el 3otes
F Wbefore house open < 5reShowX / w- LT'
F Wready to startX 2 w- LT . < cue for
5akee3a
C Wuff turns off boom bo0X 2 out
'D Wuff turns on boom bo0X ,
'D W+orman turns off boom bo0X , out
'F W/ctors in placeX 6 w- LT ?, Aarn LTD
'F Gnife in my hand 9Soo3e( 6 out w- LT D
.. WSoo3e turns on boom bo0X P
.; WSoo3e turns off boom bo0X P out
Sign In Sheet
Character Actor
1
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1
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D
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2
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M
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Production Sta$$ %a&e
Stage Manager
Assistant Director
Assistant Stage
Manager
Lightboard Operator
Soundboard
Operator
Backstage 1
Backstage 2
Backstage 3
Character Actor
1
s
t

D
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s
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2
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D
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3
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D
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P
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w
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M
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M
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Amanda Gronich Erin Bunting
Stephen Belber ! Gainle"
#elli Simpkins Susannah
$andle"
Greg %ierotti Bart #e"es
And" %aris &"an Santa
Barbara %itts Bethan" inlin
!ohn McAdams Matt 'hilden
Mercedes $errero Meg
'uerdeman
Production Sta$$ %a&e
Stage Manager Lindse"
McGo(en
Assistant Director %eter )alepa
Assistant Stage
Manager
Sarah $"de
Lightboard Operator !esse &udolph
Soundboard
Operator
!osh Senick
)rew To Do List
5age-Scene Ahat Ahere Aho
5re Show Check Sials of lood &&&&& w- prop tables
5re Show Check S: door )nlocked &&&&& 8usteen
5re Show Check weapon rack knots &&&&& 8usteen
5re Show Check S: prop shelves &&&&& 8usteen
5re Show Sacuum &&&&& 8usteen
5re Show Make bag of popcorn &&&&& 8usteen
'.' Set Aarrant ooth stairs 8usteen
'.' Set football pads ooth stiars 8usteen
'.= '.?
:etrieve dagger and bat
Trap SA
8usteen
..= 8ress Poanna Elevator room 8usteen
6ntermission ,ook /nne%s body ,8 8usteen
efore ?.' Check shackles :5T 8usteen
attle
illie Club Sieva
:E 8usteen
5re Show Mop &&&& Eric
5re Show Check SL prop table &&&& Eric
5re Show :un Lights on &&&& Eric
5re Show Aater N Cups SL Eric
;.E ,ang Shroud SL Eric
6ntermission ,ang /nne%s ody ,8 Eric
=.; ,oist odies of 5rinces L Eric
=.= Spot Margaret L Eric
'erformance ,eport
5roduction@ 8ay@
Stage Manager@ 8ate@
5erformance +umber@
/ct ' )p@ 4ront of ,ouse
/ct ' 8own@
/ct ' :un Time@
6ntermission Time@
/ct . )p@ 6ntermission .@
/ct . 8own@
/ct . :un Time@ /ct ; )p@
/ct ; 8own@
Total :un Time@ /ct ; :un Time@
5erformance +otes
Technical +otes
'erformance ,eport( %7ample
5roduction@ #ou Can%t Take 6t Aith #ou 8ay@ Thursday
Stage Manager@ Tracy LIung 8ate@ 'B-'?
5erformance +umber@ ?
/ct ' )p@ F@B? 4ront of ,ouse
? min. hold for reservations /ct ' 8own@ F@?B
/ct ' :un Time@ =?@;'
6ntermission Time@ '.@.D
/ct . )p@ C@B; 6ntermission .@ '.@B;
/ct . 8own@ C@==
/ct . :un Time@ ='@;B /ct ; )p@ C@?D
/ct ; 8own@ 'B@;E
Total :un Time@ '@?E@?D /ct ; :un Time@ ;B@??
5erformance +otes
Technical +otes
:eset sound levels before show, works much better
Monitors working again
+rogram Cop" Worksheet
)ast List
Actor Character
,#nning )rew
Stage Manager
/sst. Stage
Manager
Light oard *p.
Sound oard *p.
ackstage Crew
'rod#ction Staff
8irector
Set 8esigner
Lighting 8esigner
Sound 8esigner
Costume 8esigner
Master Electrician
Sound Engineer
Construction Crew
Costume
Crew-Stitchers
Theater Staff
5roducer
usiness Manager
Technical 8irector
Costume Shop
Supervisor
Media :elations
o0 *ffice
Supervisor
*cknowledgements:
Director8s 3otes:
*ct and Intermission 3otice:
Append!& ,
)0,9 Department of Theater and Dance )ompany ,#les
D#ring ,ehearsals:
#ou are part of an ensembleJ a group of actors, directors, designers, stage managers, and
technical support staff, Ioined for the common goal of contributing to a unified production. e
considerate. 5lease take responsibility for all rehearsal calls which are posted on the company
call board. Gnow where the call board is located.
+o 8rugs. +o /lcohol, and beware of heavy medication. Ae need you alert and attentive to the
rehearsal process. E0cessive tardiness will negate ;F?-;FD credit. 6f an emergency arises, you
must contact stage management or leave a detailed voice message where you may be reached.
uilding security at Clark and at Eldred is everyone%s Iob.
& 8o not prop open doors.
& 8o not leave valuables unattended.
& e aware of outside elements on campus.
6f you are the only person in a building feel free to call security at ;DF&;;;; for a security check
or escort.
:espect other actors and stage management.
& e $uietJ if you must talk, whisper.
& e unobtrusive when entering or e0iting rehearsals.
& Clean up after yourself. 8o not leave garbage for someone else to pick up.
& :espect the rehearsal and performance spaces.
& 6f you are going to leave a rehearsal, check with stage management first.
& 8o not give notes to other actors, let the director do his Iob. e supportive and positive in
your participation
D#ring Technical ,ehearsals
#ou must sign in starting at first tech, and continue every night till closing. +ever sign in for
anyone else.
Tech rehearsals are difficult at best. Try to create focus so as to curtail the process.
ring sustenance for the long hours of waiting. 6t is a good time for reading, homework, and
other $uiet activities.
e present. 8o not leave the immediate area if there is any possibility a transition will be run
again or you may be needed in any way. Looking for actors during tech lengths with process and
breaks rhythm. ,ug your Stage Manager at the end of the day.
In 'erformance
& +o actors or technicians in public areas after house open.
& Stay out of the light booth.
& 8o not interfere with the functions of the SM during the running of the show.
& +o visitors in the dressing room or green room during or after the performance.
& +o eating or smoking in costume.
& /ll cast members must take curtain call in complete costume.
& Theater is a communal event. 5ersonal hygiene is a must for all ensemble members. Strong
perfumes or colognes should be avoided.
& Strike brings the production process full circle. 5articipate Poyfully.

Append!& H
%ldred Sec#rity "#idelines
!#ilding 9sage
& Eldred ,all will be closed from ''@;B pm to C@BB am daily.
o +o unsupervised students in the building during off hours
o Supervised students are defined as accompanied by a faculty of staff
member 9such as during rehearsal(
o Supervised rehearsals may run later than ''@;B pm
o 8epartmental approved productions are e0empt 9within reason(
& Eldred ,all%s outside access doors will be closed at ?@BB pm every weekday.
They are to be kept locked on weekends. Morning staff will unlock outside
access doors upon arrival if personal security needs have been met.
& *utside doors are to be kept locked during rehearsals that fall in the hours
designated above. 5roduction staff is responsible for individual access and
must secure the building at nights end.
& /trium doors are to be unlocked during bo0 office hours, and are regulated by
bo0 office personnel with staff assistance. 6f may not be necessary to unlock
door on shop side of main atrium.
Indi1id#al )oncerns
& The department strongly urges no individual faculty or staff member to be in
the building alone. 6f absolutely necessary, the individual should notify
security of their presence and arrange an escort to their vehicle.
& Ahen a supervised activity is going to go past the closing hour 9''@;B pm(,
university security must be notified 9by the stage manager(.
& 6f an individual arrives at Eldred in the morning and appears to be the only
one present, they are not obliged to open the building if they are ill at ease.
Security should be asked to do a sweep of the building if necessary.
6ndividuals should look to see if any doors are unlocked, or windows open,
and take necessary action.