Deputy Stage Manager

Stage Management 2: Deputy Stage Manager Handbook
RSAMD
Technical & Production Arts
Course Handbook
Updated: 20.01.2005
Year Two
The DSM
Stage Management 2
Unit number: TPA SM2/EU
D
Deputy Stage Manager
Level: SHE2
S
M
© John Wilkie 2005 1

Contents
Unit Descriptors
Introduction 3
The SM Team 4
DSM Qualities 5
The Acting Process 6
Communication & Interpersonal Skills 7
Organisational Skills 8
Repertory Production Timeline 9
Stamina, Patience & Concentration 10
The Rehearsal Process
Tools of the Trade 12
The Read Through 13
Preparing the Rehearsal Room 14
Compiling the Book 15
Rehearsal Notes 19
Company Rehearsal Call Sheet 21
Cast Availability Chart 22
Personal Timesheet 23
Cast Timesheet 24
Rehearsal Management 25
Blocking 25

Blocking Notation Examples 27
Number Referencing 29
Sectioning the Page 30
Rehearsal Provision 31
Time Keeping 32
Equity 32
Production Meetings 35
Production Minutes 36
Working the Script 38
Prompting 38
Line Runs 39
Provisional Settings List 39
Provisional Running List 44
Provisional Fly Plot 44
Provisional Sound List 45
Example of a Provisional Running List 46
Example of a Provisional Fly Plot 47
Example of a Provisional Sound List 48
Production Week
Fit Up 50
LX Rig 50
LX Focus 50
LX Plot 51

Adding Cues 51
Example of a Prompt Book Information Page 52
Example of a Prompt Book Script Page 53
Taking a cue from Blocking 54
Backstage & FOH Calls 55
Standard Backstage & FOH Calls 56
Technical Rehearsal 58
The Prompt Desk 59
Operating the Desk 61
Etiquette on Cans 62
Holding 63
Restarting 63
Dress Rehearsal 64
Anticipating Cues 64
The Show Report 65
Example of a Show Report 66
The Run
Setting Up, Checking and Starting the Show 68
Opening Night 69

D.S.M.
Deputy Stage Manager

Introduction
Huddled in a dark corner, night after night, sometimes for weeks on end, a solitary figure
sits, cowering over a large folder. Their unfaltering focus on the pages in front of them is
broken only when they must reach out to the array of green and red lights that sit above
the book that they are so engrossed in. The pages of the book are littered with a
bewildering selection of symbols, cross references, strange text and diagrams. Sometimes
they are heard to mutter to themselves in a language that few can comprehend, an odd
mixture of abbreviations and numbers. Then suddenly, these numbers are repeated and a
sequence of green lights flash on and off on the console in front of them. To their right,
onstage….everything changes…
To an outsider, looking in for the first time, the role of the Deputy Stage Manager must
seem to be darkly esoteric. Little do they realise the amount of work that goes into getting
to the point mentioned above. Weeks of rehearsals and planning, followed by an
exhausting Production Week in which the rehearsal process finally transfers to the stage,
all culminating in an opening night of performance.
The DSM represents the only constant link between rehearsals and all of the backstage
departments that work towards the Directors vision. It goes without saying that excellent
communication skills are therefore crucial. However, the role encompasses much more
than simply passing on information from “A” to “B”. A good DSM will act as record-
keeper, organiser, technical consultant, prompter, peace-keeper and motivator. Being the
only member of the technical team present on a daily basis, in the rehearsal environment,
the DSM role can often be an isolated one, but this need not be the case. An
understanding of how the Director, Script and Actor works can make the job easier and a
lot less segregated. Depending on the relationship created between the DSM and the
Director (perhaps developed on previous productions), a DSM can also, from time to
time, contribute towards artistic decisions that arise in rehearsals.
Different Directors have different expectations of a Deputy Stage Manager. Some prefer
the DSM to simply take notes and be little more than a silent secretary to them, others
may utilise them to such an extent, that they are more akin to Assistant Directors than
simple note-takers.
Whichever type of Director you work alongside, the fact remains that the DSM’s role has
changed over recent years. It has evolved to encompass a wide range of skills which are
as variable as the environments that we endeavour to realise.

The SM Team
The place of a Deputy Stage Manager can often feel “apart” from the rest of the Stage
Management Team. This is mainly due to the fact that the DSM works for a great part of
his/her remit in rehearsals and away from the general throng of Technical Backstage
proceedings. Below (Fig.01) shows the DSM’s place within a standard Repertory
Theatre’s SM team structure
Stage Manager
Deputy
Stage Manager
Assistant Assistant
Stage Manager Stage Manager
Fig.01
Sometimes you will find yourself working alongside a second DSM, which is also quite
common. Normally you will be expected to alternate shows with your fellow DSM. This
is particularly common in a Repertory set up as one show will be rehearsed during the
day and another will be in performance in the evening. Not all Theatres can afford this
luxury however, and you may find yourself to be the sole DSM within the department,
usually you will be responsible for rehearsing the larger shows in the company’s season,
with both of your ASM’s alternating the others. This system is a great way for ASM’s to
gain experience “on The Book” and hopefully make the transition to DSM themselves in
the future. Sadly, this self-nurturing system is not used as often as would be liked.
A Step Up and to the Side
The progression from ASM to DSM and then eventually to SM is not a plain and simple
linear advancement but more of a step forward and then to the side. There is very little in
the standard ASM remit that will ready you for your first day in rehearsals as a DSM,
apart from a basic knowledge of technical theatre gleaned through experience and more
obviously, any Books that you have undertaken as an “ASM on the Book”. More
similarities can be found between the remit of an ASM and SM than with that of the
DSM.
A common misconception of a DSM is that they are only concerned with being on the
Book throughout the production process. A DSM should be available to join the SM
Team’s day to day work whenever they are not required in the rehearsal room (which
isn’t often). This may include propping, deputising for the Stage Manager etc…

Qualities
There are a number of basic qualities that are essential to a DSM, they are as follows…
• Versatility.
• An understanding of the Acting process.
• Excellent Communication and Interpersonal Skills.
• Organisational Skills.
• Stamina, Patience and Concentration.
Versatility
Of all the skills required by any SM Team member, I regard this as being the most
crucial, particularly in the case of a DSM. Being the sole manager in rehearsals it is
imperative that the DSM be proficient in adapting to situations quickly. A vast and
diverse host of problems arise on a day to day basis and either having the confidence to
solve these problems or know who can, will, in most cases, make the differemce between
a good and average DSM.
These issues can arise at any time and can be anything from a cast members personal
problem to whether the Set needs re-designed or not. Due to the diversity of this
particular job role, contracts tend to be fairly open to interpretation and most clauses will
simply state “as required” somewhere in them. However, as with the rest of Stage
Management, we are protected by the rulings of the Equity Union and is the only
protection we have from unscrupulous employers. I will endeavour to explain more about
the workings of Equity in a later chapter.
Versatility, as I have hinted at earlier, is the key to being a successful manager. Excellent
organisers do not always make excellent DSM’s or SM’s. Where organisation is
important, especially when pre-planning, the ability to make snap decisions under
pressure can ultimately make the difference between whether a production is successful
or not.

The Acting Process

"Thinking is easy, acting is difficult, and to put one's thoughts into action is the most difficult thing in the
world.”
Johann Wolfgang von Goethe
An understanding of the Acting process is also vital to becoming a successful DSM, more
so than from any other technical department. The details of this can be found in a later
chapter but to generalise greatly there are a view points which should be raised here.
Whether the performer(s) that you are working with are street jugglers, rock stars or
Opera singers, the same rule applies…they all have to maintain a high level of
concentration in order to perform their individual genres to a standard that the production
requires. When this concentration is broken, for whatever reason, the actor may then slip
into stereotype. Add the stress of a fast approaching opening night, hard to find character,
thousands of words to learn and a bundle of props that they haven’t yet seen and you
have all the ingredients for a major blow-out! Oh yes…..and they also keep us all in jobs!
Without the performer the soul is taken out of any production and all you are left with is
theatrical trickery. Every member of every Technical Department represents their own
department by facilitating and enhancing the performer. As the DSM works more closely
with the Cast & Director than any other individual backstage, an understanding of the
acting process is crucial.
Here are a few commonly used acting terms that may be of interest…..
Drying – When an actor forgets his lines.

Prompting – “Throwing” the actor a line (usually the DSM’s role) when he has dried.
“Line!” – The most common way for an actor to alert the DSM that he/she has forgotten
their line. Less commonly used terms are, “Prompt!”, “Yes!” and “F*^k it!!”
Corpsing – Uncontrollable fits of laughter by an actor (usually due to another actor’s
improvisation).
Blocking – The moves that actors make within the performance.
Motivation – The reasons given towards making a character whole, realistic and
believable.
Business – When an actor uses a prop or has non-spoken sections in a play where action
replaces dialogue.
Improvisation – When an actor reacts to or creates a non-scripted section of the
production in a spontaneous fashion.
Rehearsal Skirt – A skirt used in rehearsals, usually to represent a period style garment.
Rehearsal Shoes – Similar to Rehearsal Skirt but with shoes instead.
Fluffed – A slightly more effeminate way of referring to a missed/mixed up line.
On the book – A large part of the rehearsal period when an actor has yet to memorise
any of his/her lines.
Off the book – When an actor manages to memorise all of their lines and no longer
needs to constantly refer to the script in rehearsals.
Character – The culmination of all of the actors work thus far. A made up persona.

When an actor is in rehearsals it is the main role of the DSM to facilitate the performers
and Directors needs, ether for the rehearsal process itself or for the impending
performances.
Excellent Communication & Interpersonal Skills
It almost goes without saying that any type of manager should possess excellent
communication and interpersonal skills, though a DSM’s remit demands it rather than
making it an additional quality that is simply desired.
Fig.02
Fig.02. shows a simplified diagram of where the DSM sits in the production process.
Communication skills take the form of both verbal (word of mouth) and non-verbal
(documentation) disciplines. A good standard must be set from the outset for both skills.
Word processing has become an extremely economic and time consuming method of
creating paperwork that is of a high standard and extremely quick to edit. Of all of the
innovations that have come and gone over the years, the ability to word process
documents has made the greatest impact so far on the day to day working of an SM
Team. By mastering basic software packages such as Microsoft Word and Excel, the
DSM can produce a vast array of relevant paperwork from timesheets to daily “to-do”
lists. The distribution of reports, notes and minutes can then be distributed with a few
clicks of a mouse via email etc….
However, technology cannot be relied on entirely, the need to have face to face
communications, at times, cannot be emphasised highly enough. Sometimes notes or
reports, especially those of a more complex nature, should be followed up by the note-
taker as often as is possible. These more complex problems should be explained to the
department head in a simple and clear manner, whenever required. Basically, as a DSM,
you should find time to be available to answer any questions that arise from your notes
and reports.

Organisational Skills
Again, this quality is fundamental to a DSM of any stature. It is easy to sit in a rehearsal
room and simply push stationery around on your desk for the duration of your time in
rehearsals, action needs to follow your planning. So many “average” DSM’s are seen as
nothing more than note-takers by their cast and Director and a “seen but not heard”
presitant is set. By the time the Technical Rehearsal is upon the company, no real
managerial policy has been set and the Technical can be in danger of being, shall we
say….under-managed?
I have listed a few guidelines to help you get started in rehearsals, we shall look at these
duties in more detail in the following chapter.
• Cast & Crew Contact Sheets.

• Timings
• Availability Charts.
• Measurements & Fittings.
• Cast Call Sheets.
• Rehearsal Furniture, Set Items & Props.
• Rehearsal Notes.
• Compiling the Book
• Blocking
• Calls
• Stand By’s
• Q’s
Provisional Settings List.
Provisional Running List.
Provisional Fly Plot.
Provisional Sound Plot.
Q-Light Settings List.
• Equity Rulings.
• Personal Timesheets.
• Cast Timesheets.
• Health & Safety Policies.
• Working Time Directives (WTD).
• Copyright Law.
• Show Reports.
• Running Time.

Meet the Company
1
Read
Day
• Contact Sheets
Through
• Timings
Week 1
Compile the Book
2 3
Timeline.
• Blocking
• Rehearsal Notes
© John Wilkie 2005

Blocking
• Wardrobe Calls
• Basic Settings List
5 6
• Rehearsal Provision
7
1
Compile the Book
• Blocking
• Rehearsal Notes
2 3
Week 2
Working
• Wardrobe Calls
4
• Settings List
• Rehearsal Provision
Fig.03. A typical Repertory Production
5 6
• Begin Prompting
Rehearsal Period
7
1
Compile the Book
• Provisional Running
Working
List.
2 3
Week 3
• Rehearsal Notes
• Settings List 4
5
• Prompting
Runs
• Provisional Fly Plot

7
• Prov. Sound Plot

1
In Rehearsals Fit Up
In Rehearsals LX Rig
Week
2 3
Q’s, S/B’s in Book LX Focus\Plot

Week 4
Production
Update Book Technical

Stage
Show Reports
Dress\Perf.
Transfer to
Show Reports
5 6
Performance
7
1
Show Management
• Q the Show
• Show Reports
2 3
Next Show
• Show Maintenance
Performance.
• House Keeping
Begin to Rehearse
Period
Weeks 5,6&7
• Start Rehearsing next

Performance
Show.
6 7
Strike
Show.
Returns,
Post-
Fig.03
Production
Begin to Fit Up Next
12
The timeline shown in Fig.03 depicts a fairly typical production period within a standard
Repertory Theatre. I have added a guide (at the bottom) that shows roughly where a
DSM should be, in terms of paperwork, at any time during a production.
Organisation can be split into two distinct areas, first of all there is all the necessary
planning and then the required action that arises from the planning stage. It is important
to get the balance correct between these two disciplines, as too much planning can leave
you with little time to act. In contrast, too little preparation and planning leads to a lack of
efficiency. Different venues allocate different schedules to their productions, but a
standard length of production, as in Fig.03, is the most common. Rehearsal periods can
be anywhere from a week to three months long, production weeks can stretch to three
weeks or more and performances can run for years. It is safe to say though, that you will
never have enough time and that goes for every department employed on the Production.
So it is essential to measure your time carefully, allocate enough time to pre-plan to a
level that is satisfactory for all concerned and the remaining time should be sufficient to
act on your planning solutions. This becomes easier with practise and your familiarity
with the process becomes second nature.
Stamina, Patience and Concentration
Long production weeks tend to put a great deal of pressure on the company as a whole,
everything goes into overdrive during this period. The hours can be in excess of sixty per
week and during the winter you see very little daylight. Nutritional intake can only be
described as a diet of junk and fast food, eaten at irregular intervals and usually in haste.
Break infringements are common place and few remember that they have missed their
statutory breaks. All of these elements result in tempers being fraid, stress levels reaching
the ceiling and personal relationships being exasperated, when this occurs it takes careful
management of yourself and others to pull through.
During any production, the quality of its management is graded on the apparent lack of
stress placed upon its employee’s. There will always be issues to deal with and problems
to tackle, it is the manner in which they are solved that sets the standard and is as
important to the process as the quality of solution that is offered up.
When a show is in performance and the run is a long one, a DSM has to find the same
level of concentration for each performance. Following the script closely, in between
cues, for anything up to 5hrs each evening (more if there are matinees) can become
mentally debilitating, especially if the show is running for more than two weeks. If it
weren’t for the fact that you can be preparing a different show during the day, that period
of your life takes on a bit of a Groundhog Day feel to it.
Actors can be a sensitive bunch at times (with exception to the whiskey riddled hard-
nosed veteran fraternity) and it is easy to forget this, especially when you seem to be
dealing with an endless stream of seemingly petty and (at times) personal problems.
Patience, in these circumstances, is a very useful asset to have.


Tools of the Trade

There are a few items which may help you in your role of DSM and I have listed them in
three categories below, starting with the most useful.
Required
• A4 Lever Arch Binder

• Notepad & Pen
• Box of Pencils & a couple of Erasers.
• Sharpener
• Ring Reinforcers.
• Ruler & Angle
• Scale ruler with 1:25, 1:50 and 1:100
• Maglite
• Black Clothing (Blacks)
• Watch
Recommended
• Multi-tool e.g. Leatherman, Gerber etc…

• Small standard tool-kit
• Mobile Phone
• A-Z of Local Area
• Phone Book and Yellow Pages
• Stop-watch
Handy
• Laptop/PDA
• Digital Camera
• Pen (USB) Drive
You will also require the following for Rehearsals, the venue should supply you with the
following.
• Several roles of PVC (LX) Tape (different colours).

• Gaffer Tape
• Spare copies of script and/or score.
• Chalk.
• First Aid Kit.
• Ground plan.


The Read Through
Stage Management are usually in first on a Read Through day. Part of their remit is to set
up the necessary number of tables and chairs for the cast and any other relevant company
members that may attend. Spare copies of the script and extra pencils are always a good
idea. There is also no harm in setting a good early impression of the team by providing
water and cups for the cast, having an availability chart on the wall and a clearly laid out
notice board.
If possible, rehearsal furniture, set pieces and props should all be collected and ready for
an immediate start after the read through. This is only possible if prior contact had been
made with the Director or possibly the Designer in advance of this day.
In a lot of cases, this will be the first that time that you will have met the cast. It is
normally the DSM’s job to compile a Contact Sheet of all the cast members before the
Read Through begins. An Allergy Sheet can save a lot of time later on, this would also be
a good time to collate this information.
Timing the Read Through
Once the cast and company have all been introduced and any absences have been “chased
up” or apologised for, the Director normally gives a brief introduction and history to the
play. The Designer would then explain the set and costumes to the cast and a basic
overview of the concept behind the designs. This is where the set model and costume
drawings are normally viewed, for the first time, in their finished state. Taking pictures of
the set model is beneficial as it usually gets broken up and sent to the workshop then the
scenic art department after the read through and is as good as lost when this happens.
Eventually the read through begins and a timing is usually taken by the DSM. This will
give everybody their first indication as to how long the show will be. If the run through
constantly stops in order to discuss ideas etc. then try to compensate for these breaks
when giving your final running time to the Director.
After the Read Through
After the read through and depending on what the Director wants to do, several scenarios
can take place, any of which you should be ready for. Here are a few examples.
• Blocking Commences
• Measurements in wardrobe.
• Further Textual Analysis.
• Mark Up (if not already done).
• First Production Meeting.
• Director available to meet with separate departments.
• Another Read Through.
• Afternoon Off (Extremely unlikely!)

Sometimes this isn’t decided until after the read through, usually depending on how the
Director feels, he may be in no mood to face blocking straight away. Cast members who
find themselves with a bit of extra time may want shown around the building, especially
if they are new to the venue. It is a time for you to rekindle old acquaintances and meet
some potential friends. Theatre is a relatively small industry and the same actors tend to
come around in cycles, working a tried and tested route littered with short term contracts.
It is the transient nature of the job.
Nailing the Designer
Designers can be an elusive lot, so if you have any questions regarding the set, props or
costume that may affect rehearsals then now is the time to have that meeting. It is also an
ideal time for the Designer to check the mark up and answer any questions that you may
have.
Preparing the Rehearsal Room
Afterwards, you can then start to plan and hunt for rehearsal furniture and props. Perhaps
staging is needed to create another level? A wire may need drawn across the room in
order to hang a rehearsal wipe on? Screens may need erected to represent walls? Props
tables may need to be set up etc… It is entirely up to you what you wish to provide and at
what time in the process. As ideas occur to you then the room begins to evolve with the
project. There is usually a large pile of cut props in the corner of every rehearsal room. A
good rehearsal space is one where you can adapt the environment in the easiest possible
way. Older rehearsal rooms tend to have had so many adaptations made and left up for
future occasions that most problems have already been encountered and catered for. The
ability to screw into the floor, walls and ceiling is a great help to start with. A great deal
of rehearsal rooms are also utilised as small studios from time to time and actually host
performances, these are usually the better equipped rehearsal environments. Some form
of grid or LX bars are usually present, making it easy to hang pieces of set to enhance
rehearsals. Make sure you check the loading before proceeding with this venture.
Until the actual item is available, the closer that you can represent certain set items, props
and costume with stand-ins, the potential for a better end product or performance is
heightened. Mark ups, by themselves are often adequate for a performer to rehearse on,
but having something to represent either a wall or set of stairs gives the actor more
confidence every time he/she rehearses with it. This makes it more complex and harder
work for the DSM, especially when the production demands several changes of scene and
you have got to the stage in rehearsals where runs are imminent. This is also part of your
remit.

Organise Yourself
Find yourself an adequately sized desk, with drawers if possible and position it as close to
the Centre Line as possible. A lot of paperwork is generated by a busy DSM so space to
spread it out in front of you will be needed. If a notice board isn’t available then find a
space on a wall to create one. Ideally this should be as close to the main door as possible
so actors can reference it without causing too much disruption to rehearsals. I like to post
my Call Sheets on the other side of the door to help alleviate this problem. Some forms of
documentation that may be useful to have up on the first day of rehearsals are as follows.
• Call Sheet
• Availability Chart
• Set Model Photo’s
• Costume Drawings
• Ground plan
• Cast List
• Design Reference material
• Any other relevant information
Compiling the Book
Prior to Rehearsal starting, you can begin to put your Book together. The more that you
can do before the Read Through the less you will have to do later. Getting a decent lever
arch folder is a good place to start (See Fig.05).
Lever Arch Folders hold the pages in a lot

more firmly than conventional ring binders,
this is essential if the Book is being used as
part of a long tour or an extended run. The
other advantage of using a Lever Arch
Folder is that it gives you an overlap (See
Fig.06) on the front cover which is seen at
all times, this is an ideal place to situate a
Key and any other important information
Fig.05. that can be seen at all times.

If lost please return to: Stage Management 2: Deputy Stage Manager Handbook
John Wilkie
RSAMD Script
Glasgow
01412708210
Fig.06.
Fig.06 Shows the ideal location for your key

Key: and a distinct place to post your own details.
C.S.L = Centre Stage Left
C.S. = Centre Stage A Key is vital to any Book, you have to always
make the assumption that you may be ill one
X’s = Crosses day and someone else may need to reference
= Moves D.S the Book. This person may not be a Stage
= Moves D.S.L Manager, so the Book must be laid out clearly.
= Sits It may be an Actor or Director needing to
reference blocking or script changes, one of
= Stands your ASM’s sitting in for you etc…A key to all
= Chair of your symbols and abbreviations makes their
3 interpretation of your work a lot simpler. By
= 3 Beat Pause placing your Key here, there is no need to go
Characters hunting for it amidst a sea of documentation
B and it is always on view.
= Barry
J
= John The Key must be updated regularly to
S compensate for changes made during
= Sarah rehearsals.
St
= Steve
Your personal details should NOT include
your home address or telephone number,
always use the Stage Management office
number and the Theatre address.
Laying out a Book
Books are as individual as the DSM’s that compile them, due to the partially organic
nature of rehearsals. There are a few standards to laying out a Book, these are as follows.
• Always try to remember that, in your absence, your Book may be used by others
and since most DSM’s make up their own symbols and abbreviations, it is vital to
have a Key. Simple additions such as a contents page and section dividers can aid
in making your Book more functional and easier to retrieve information from.

• The Book is a unique item and is very difficult to replace if damaged or lost. Keep
the Book in a safe place, preferably under lock and key, in the Theatre. When
touring always carry the Book with you, never send it ahead in the van or with
someone else. There will be times when you will have to work on your Book at
home, extreme care must be taken when in transit.
• A Book must not be left in the prompt desk in between or after shows.
To add a bit more stability and strength to your Book use ring re-inforcers, it’s a lengthy
and extremely dull process, but necessary in the long run. Putting columns into the Book
is the next stage of the process, this can be done simply by using one of two methods.
Method 1
Slip a piece of A4 in between each script page. This makes the Book twice as thick as
normal and is not recommended when working solely from a score. The advantage of this
system is that it is easy to edit entire pages, by simply removing them. You can
photocopy your columns and column headings onto each page, ready for rehearsals.
Method 2
Use the back of the existing script to copy your columns and headings onto. This makes
the prompt copy less bulky and more manageable. The downside being that edits are less
easy to make, as you have to change any details on the script side of the page also.
Fig.07. shows the most common lay out for a book i.e. 3 columns.
Ghost beckons HAMLET
Calls
Blocking S/B’s Cues
HORATIO
It beckons you to go away with it,
As if it some impartment did desire
To you alone.
MARCELLUS
Look, with what courteous action
It waves you to a more removed ground:
But do not go with it.
HORATIO
No, by no means.
HAMLET
It will not speak; then I will follow it.
HORATIO
Do not, my lord.
HAMLET
Why, what should be the fear?
I do not set my life in a pin's fee;
And for my soul, what can it do to that,
Being a thing immortal as itself?
It waves me forth again: I'll follow it.
HORATIO
What if it tempt you toward the flood, my lord,
Or to the dreadful summit of the cliff
That beetles o'er his base into the sea,
And there assume some other horrible form,
Which might deprive your sovereignty of reason.
And draw you into madness? think of it:
The very place puts toys of desperation,
Without more motive, into every brain
That looks so many fathoms to the sea
And hears it roar beneath.
HAMLET
It waves me still.
Go on; I'll follow thee.
MARCELLUS
You shall not go, my lord.
HAMLET
Hold off your hands.
HORATIO
Be ruled; you shall not go.
Fig.07
Blocking Cues
HORATIO
To you alone.
MARCELLUS
HORATIO
No, by no means.
HAMLET
HORATIO
Do not, my lord.
HAMLET
HORATIO
And there assume some other horrible form,
HAMLET
It waves me still.
MARCELLUS
HAMLET
HORATIO
Fig.08
Fig.08. shows another popular layout for a Book, this time using a 2 column system. This
system is useful if you are operating LX and/or Sound. It gives a lot of space to list levels
and make operational notes, especially in the Cues column. However, it is a looser frame-
work to input information into, Stand By’s can be lost in amongst notes, cues and calls
and a certain amount of clarity is lost. Some prefer a less rigid system to work with and
this is ideal for them.
Calls S/B’s Cues

Fig.09. depicts a slightly more
Blocking
complex, 4 column Book. The
disadvantage to this system is that it
sacrifices space for order.
It is important to remember that

both the Blocking and Cue columns
need more space than any other
column.
Fig.09
Preparing Early Paperwork
Once you have laid out your Book and it is ready for the first day of actual rehearsals,
you can (time allowing) start to create templates for any other paperwork that you may
need. Some examples of early rehearsal paperwork are as follows…
• Rehearsal Note (Fig.10)

• Call Sheet (Fig.11)
• Availability Chart (Fig.12)
• Personal Timesheet (Fig.13)
• Cast Timesheet (Fig.14)
Rehearsal Notes
Rehearsal notes are a continuous process within rehearsals. They are usually taken in note
form then collated and put into a standardised template. At the end of a rehearsal it is
often a good idea to ask the Director to clarify any notes that you are unsure of, before
distributing them to the relevant departments.
Every department should be listed on your notes, whether there is a note for them on that
day or not. This also goes for distributing your notes, all departments should receive a
copy, regardless if there is something for them or not. This ensures that everyone knows
what is going on, another departments note may be partially relevant to some other
department and may not have been picked up, initially, by you. e.g. a stage management
note that states that there will be double the blood used for a particular scene. Though
there was no Wardrobe note for that day, by distributing the stage management note to
them they are alerted to the fact that double the blood is being used and any consequences
that may entail.
Within the RSAMD we have standardised the way that Rehearsal Notes, Production
Minutes and Show Reports are distributed. This is especially relevant to Rehearsal Notes,
see below for a description of this system….
No Notes (for any department) Email Only All Departments

Notes available Email & Hardcopy All Departments
When distributing hardcopies it is important to “follow up” any particularly complicated
or difficult to explain notes by speaking to the department head that it concerns.
When emailing notes, please adhere to the following format:
Documentation Email Subject Line

Rehearsal Notes Backstage Hell RN 01 12.05.04
Production Meeting Minutes Backstage Hell PM 01 12.05.04
Show Reports Backstage Hell SR 01 12.05.04
This allows the recipients to set up filters within their email client in order to file all
documentation more efficiently.
Date: Thursday, 9th December 2004

Fig.10
F
FALSTA F
Rehearsal Notes
Rehearsal Note No. 11 Page 1 of 2
Stage Manager: Louie Whitemore Director: Martin Lloyd-Evans
Deputy Stage Manager: Anna Casson ASMs: David Dunnachie, Ross McMillan
Rehearsal Room: The Groves Studio
F.A.O.: Anna Casson, Tim Dean, David Dunnachie, Dave Evans, Colin Grenfell, Bridget Kimak, Zander
Lee, Martin Lloyd-Evans, Jamie Mackay, Steve MacLuskie, Ros Maddison, Martin Mallorie, Ross
McMillan, Christine Murphy, Ronnie Murphy, Davy O’Neill, David Ripley, Sean Taylor, Louie
Whitemore, John Wilkie
General
• There will be runs of all three acts on the following days:
o Friday 10th December at 2pm
o Friday 17th December at 10am
• There is a variation in one small section of the text in Act III Scene II (page 407 in
technical scores handed out). In some scores it reads “il corteggio nuziale. Etenti”
The text being used for this production, which replaces the above, is “la coppia
delglia sposi. Attenti”.
Design
• No notes today.
Director
• No notes today.
Electrics
• No notes today.
Paintframe
• No notes today.
Props
• The puppets will be required in rehearsals for the following sessions:
• Monday 13th from 6pm
• Wednesday 15th from 10am (not afternoon)
• Thursday 16th from 2pm (not morning)
• Friday 10am (ALL DAY)
• The singers may hold the puppets at the point between the head and broom skirt.
Stage Management
• Mr Labonnette’s (Falstaff) handkerchief will need to be quite wet for Act III Scene I.
He needs to be able to squeeze water out of it when wringing it. This water will fall
downstage centre of the platform.
• Mr Garcia’s (Fenton’s) mask strings need securing more rigorously.
Thank You.

Fig.11
Backstage Hell
Company Rehearsal Call Sheet
DSM: John Wilkie Date: Tues 12th April ‘03

Director: Ewan Macgregor
Rehearsal Room: R3
Cast Member(s) Call Notes
Mr Burn 10am Block Act 3 Sc 1

Miss Saigon
Mr Murray 11am To Join.
Ms Davenport 11am Fitting. (Wardrobe)
Ms Davenport 11.30am To Join.
Lunch 1pm
Mr Burn
Miss Saigon
Mr Murray 2pm Run Act 3 Sc 1
Ms Davenport
Mr Myrtle 3pm Work Act 3 Sc 2
Mr Lee 4.30pm To Join

Run Act 3
Mr Murray 5pm Fitting (Wardrobe)
Miss Saigon 5.15pm Fitting (Wardrobe)
Mr Burn 5.30pm Fitting (Wardrobe)
Thank You.
John Wilkie
DSM

Fig.12
Cast Availability Chart
Michael
Show Backstage Hell SM Date 20.02.2004
Budmani
Rehearsal Room R2 DSM Sue Hawley
Act 1 Act 2
Name Character Scene Scene
1 2 3 4 1 2 3 4 5
Barry McCall Mr Bojangles x X x x
John Wilkie Himself x x
Stephen Macluskie Darth Vader x x x x x
Sean Taylor Bob The Builder x x x
Anne Corcoran Miss Marple x X x
Sarah Leask Betty Blue X x x x x
Lynfryn Mackenzie Madonna x x x x x
Zander Lee Ugly Sister x x x x
Brendan Savage Ugly Sister x x x x
Christine Murphy Wicked Seamstress X x x x x
Tim Reid Shrek X x x x x
Jim McGowan Rock Chick x x
Steven Lafferty Little Miss Muffitt x X x x x x
Martin Mallorie Puss In Boots x x
Cast Availability Chart

This chart can be generated in advance of rehearsals by going through the script and listing which characters appear on which Page, Scene
or Act. This is a useful tool when scheduling rehearsals, whether it be a plan for the coming week or simply to set calls for the next day.
When posting on the rehearsal room notice board it is useful to print/photocopy this onto the biggest size possible, in order to make it as
easily read as possible. It is also useful when scheduling Measurements or Fittings as it can be seen at a glance who is in for the next set of
planned rehearsals. Sometimes a Director will not schedule rehearsals in anyway but insist that all cast members be in the building and
available to rehearse at all times, this makes the Availability Chart partially redundant.

Fig.13
Department of
Technical &
Production Arts
Please use 24hr clock format ie.
13:30
Name John Wilkie Week Ending 19.12.2004 Today January 6, 2005
Morning Afternoon Evening Hours Claimed Overtime Analysis

Day
Sub Sub Sub
Start Finish Start Finish Start Finish Total Total
Total Total T1 T1.5 T2 TOIL
Monday 09:00 13:00 04:00 14:00 17:30 03:30 00:00 07:30
Tuesday 09:00 13:00 04:00 14:00 17:30 03:30 00:00 07:30
Wednesday 09:00 13:00 04:00 14:00 17:30 03:30 00:00 07:30
Thursday 09:00 13:00 04:00 14:00 17:30 03:30 18:30 22:00 03:30 11:00 03:30 Panto Performance
Friday 09:00 13:00 04:00 14:00 17:30 03:30 00:00 07:30
Saturday 09:00 13:00 04:00 14:00 17:30 03:30 00:00 07:30 07:30 Panto Strike
Sunday 00:00 00:00 00:00 00:00
00:00 11:00 00:00 00:00
Total Hours
Claimed By John Wilkie 48:30:00
Worked
Less Normal
37:30:00
Hours
Signed Less TOIL
Total Extra
11:00:00
Hours
Approved By David Ripley
Signed

Fig.14 Backstage Hell
Cast Timesheet
Week Beginning: 12.04.2002 Week
Performer Mon Tues Wed Thurs Fri Sat Sun Total
Mr Burn 10:00 10:00 10:00 10:00

13:00 13:00 13:00 13:00
14:00 14:00 14:00 14:00 14:00
17:00 17:00 17:00 17:00 17:00
18:00
19:30
Day Totals 7:30 6:00 3:00 3:00 6:00 3:00 28:30:00
Miss Saigon 10:00 10:00 10:00 10:00

13:00 13:00 13:00 13:00
14:00 14:00
17:00 17:00
18:00
19:30
Day Totals 6:00 7:30 0:00 3:00 0:00 3:00 0:00 19:30:00
Mr Murray 10:00 10:00 10:00 10:00

13:00 13:00 13:00 13:00
14:00 14:00 14:00 14:00 14:00
17:00 17:00 17:00 17:00 17:00
18:00 18:00 18:00 18:00
19:30 19:30 19:30 19:30
Day Totals 7:30 7:30 7:30 7:30 3:00 0:00 0:00 33:00:00
Ms Davenport 10:00 10:00 10:00 10:00

13:00 13:00 13:00 13:00
14:00 14:00 14:00 14:00 14:00
17:00 17:00 17:00 17:00 17:00
18:00
19:30
Day Totals 7:30 6:00 3:00 3:00 6:00 3:00 28:30:00
Mr Myrtle 10:00 10:00 10:00 11:00

13:00 13:00 13:00 13:00
14:00 14:00 14:00 14:00 14:00
17:00 17:00 17:00 17:00 17:00
18:00
19:30
Day Totals 7:30 6:00 6:00 3:00 6:00 2:00 30:30:00
Mr Lee 10:00 10:00 10:00 10:00

13:00 13:00 13:00 13:00
14:00 14:00 14:00 14:00 14:00
17:00 17:00 17:00 17:00 17:00
18:00
19:30
Day Totals 7:30 6:00 3:00 3:00 6:00 3:00 28:30:00

Rehearsal Management
The Rehearsal Period is split up into three very defined areas, these are…
• Blocking
• Working
• Running
It will depend on the script and Director as to how much time is allocated to each area. Some
Directors like to layer their rehearsals, starting with very basic blocking and adding more and
more detail at every stage, by the final week of Rehearsals the Actors have the basics down
and are adding finer points to their performances. This is in contrast to those Directors who
prefer to add detail from day one and continue to do so on a daily basis. The latter is a much
slower and ponderous process, several days may be taken on only a handful of pages,
whereas the former system tends to be a lot quicker, especially in terms of blocking. The
entire play could be blocked in 2 – 3 days, allowing the Director to start layering the
performances accordingly. The difficulty here is that you never know how a Director works,
(unless you have worked alongside the individual before) until you sit down on the first day
of rehearsals. The following is a very rough breakdown of the three aforementioned areas..
Blocking
Blocking is where the Director very roughly moves the actors around the set. It starts the
process of layering the performance. It is the remit of the DSM to record every move made
by all of the cast throughout the performance. As there is no real standard to notating
blocking in Drama or Opera (there is a standardised system of notation for Dance and Ballet)
it is up to the individual DSM to create their own (see Blocking Notation). Usually the first
week of rehearsals are concerned solely with blocking, followed by a second week which is
left to adding detail i.e. “working” and finally the final week is left to both “working” and
“running”. This is dependant on the size and complexity of the show, along with the system
that the Director has opted for in rehearsals and the length of the overall Rehearsal process.
As the cast develop very simple “A” to “B” moves and progressively add more complexity to
their movements (e.g. moves from U.S.L to D.S.C and takes his coat off, putting it on the
D.S.C chair, then sits in the chair) then the DSM must continuously update his/her blocking
to suit. Blocking is an ongoing process, moves are tried and tested through the process of trial
an error until both actor and Director are happy.
When an Actor comes to Rehearsals they are very rarely expected to have learned their part
beforehand, indeed may actors prefer to learn their lines along with learning their moves. In
Opera it is different, singers are expected to have learned the music and lyrics before coming
to Rehearsals for the first time. You will very rarely find an Opera singer holding a score in
their hands whilst rehearsing, whereas, in Drama, it is common place. It is important for the
DSM to get as much of this early blocking down as soon as possible, as the Actor will be
given a deadline to get “off the Book” by the Director, when this happens the DSM then
takes on any prompting responsibilities that arise and blocking almost becomes secondary.

Blocking Notation
Your notation may be used for several process’s, the most common being an actor who has
simply forgotten a move. Other uses for the notation process could include the following.
• During the LX Plot, where reference to stage positions are required for lighting
purposes
• If a principle is unavailable for a performance then the book serves as a training aid
for any understudy rehearsal that is required.
• A record of the show.
o For the possibility of a revival.
o For prosperity.
• To aid in Play Days and educational exercises.
Due to the constant updating that is required when writing down Blocking, a pencil is always
used, never a pen. This ensures that editing can be done several times and the Book remains
as neat and tidy as possible. In order for a Book to be easily read by others block capitals are
the standard (no “joiney-up” writing!). Apart from these very basic standards, there are no
hard and fast rules to compiling a Book (aka The Prompt Copy). It is entirely up to the DSM
to create a system of short hand, as speed is of the essence. On the next page there are some
examples of symbols used by professional DSM’s to get you started.
A good quality pencil is also recommended and an eraser to match.
Do Stage Managers make the tea?
Only if they like the person that they are making it for.

Examples of Blocking Notation
Moves Characters
U.S.L Up Stage Left B Barry

U.S.C Up Stage Centre
U.S.R Up Stage Right J John
C.S.L Centre Stage Left
C.S Centre Stage S Sarah
C.S.R Centre Stage Right
D.S.L Down Stage Left St Steve
D.S.C Down Stage Centre
D.S.R Down Stage Right Furniture/Props
P.S. Prompt Side
O.P. Opposite Prompt Table
1
X’s Crosses Chair 1
Moves D.S or Sits
Moves D.S.L
Dance Notation
Moves U.S or Stands
For further and more
Moves S.L detailed information on
Dance Notation please
Moves S.R refer to the following
website..
Sits
http://www.artslynx.org
Stands /dance/notation.htm
3 3 beat Pause Several systems have
been tried & tested in
Looks order to preserve dance
routines for prosperity.
@ at
with

S t a g e Fig.15
Fig.15 depicts a very simple move. Britney (the actress) starts off Down Stage Right. She
then crosses to Down Stage Left. The longhand version would read something like this….
Britney crosses from down stage right to down stage left and stands next to chair.
This would take too long to write in a pressurised rehearsal environment, so we create our
own forms of shorthand to help speed up the process and save space within your blocking
column. Examples of this are as follows.
Example 1
B x’s TO D.S.L CHAIR
Example 2
B x’s D.S.L TO 1
Example 3
B x’s D.S.L TO CH1

Example 4
B CROSSES TO D.S.L CHAIR
Any of the above would be correct. If you have time in rehearsals then the closer that you can
get to longhand the better, for it is the easiest layout to read. Notice how the character
reference is encircled, this helps to make the character stand out amongst all of the other
symbols, to aid in finding specific details much faster.

HORATIO
1 It beckons you to go away
with it,
Number Referencing
As if it some impartment did
desire
To you alone.
Blocking SB’s\Calls Cues
HORATIO
1 M x’s DSL to G ’s L 1It beckons you to go away with it,
To you alone.
MARCELLUS
HORATIO
No, by no means.
HAMLET
Place a number (in a
circle) over the word HORATIO
on Do not, my lord.
which the Actor starts his
move, then write yourHAMLET
notation in the blocking And for my soul, what can it do to that,
column, starting with the It waves me forth again: I'll follow it.
same number. Try to putHORATIO
both numbers level with Or to the dreadful summit of the cliff
each other on the page. And there assume some other horrible form,
HAMLET
It waves me still.
MARCELLUS
Fig.16.

Fig.16 shows an example of blocking notation for a production of Hamlet. Numbers

should RESTART on each new page and not be continuous throughout the script.
This is also for editing reasons, if a new move is created between two existing moves
then you need not re-number from page 1 of the script or score, you can simply begin
your re-numbering from the top of the page that the new move was found on. Re-
numbering is always going to be time consuming so the following system may be of
use to you.
Sectioning the Page
Imagine that the script has been split into horizontal sections (see Fig.17). Blocking
move No.1 happens either before or on the first piece of dialogue (the first spoken
word on the page) and the last move (we’ll call it move No.20, but this will depend on
how much action there is likely to be on that particular page) is on or after the final
word on the page. You can then split the dialogue area up into sections.

Blocking Calls/Sb’s Cues
HORATIO
1 It beckons you to go away with it,
2 To you alone.
3 MARCELLUS
4 It waves you to a more removed ground:
5 HORATIO
No, by no means.
6
HAMLET
7 It will not speak; then I will follow it.
8
HORATIO
9 Do not, my lord.
10 HAMLET
11 Why, what should be the fear?
12 And for my soul, what can it do to that,
13 It waves me forth again: I'll follow it.
14
HORATIO
15 What if it tempt you toward the flood, my lord,

16 And there assume some other horrible form,
17 Which might deprive your sovereignty of reason.
18 The very place puts toys of desperation,
19 That looks so many fathoms to the sea
20
Fig.17
This is a technique enabling you to reduce the amount of renumbering that you have
to do. If the first move on the page is on Horatio’s line “No, by no means.” then your
first number in the blocking column would be 6. This allows you to slip in new moves
without having to drastically re-number. There will come a point, in some
productions, where the number of moves added on a particular page become too
numerous for your numbering system, simply add the suffix “a” or “b” etc… e.g. 6a,
6b… Another alternative, which is preferred, would be to add “points” after the
number. e.g. 6.5 etc…

Recording Blocking using A.V.
Due to the convenient size, functionality and relatively low cost of modern video
equipment, there appears to be a trend growing (especially in Dance) to record
rehearsals. One of the main reasons for this is to aid the DSM in notating the moves.
At the end of every day, the DSM, accompanied by notes taken during rehearsals,
then sits down and notates the finalised moves using playback. This would be
particularly useful for fight scenes and ones that contain many characters moving
around.
The future of compiling Books
With PC’s and MAC’s dropping in price every day, it is not impossible to envisage a
Prompt Copy of the very near future. All it takes now is for some bright spark to write
the software and we’ve made a small leap in the evolution of Stage Management. A
laptop, intuitive software, an experienced operator and a few quid would be all that it
would take. With the script, blocking, calls, stand by’s etc…all being recreated
digitally it would not take much of jump to create a system where the DSM triggers
all of the cues (LX, Sound, Flies, AV etc…), simply by jacking their laptop into a port
situated in the old Prompt Corner, now called the “Prompt Port”.
Rehearsal Provision
A general rule of thumb, is that the DSM is in before rehearsals start every morning,
to set up for the first scene of the day. It is preferable to set up after the previous
evenings session but this isn’t always possible. Your Stage Manager and ASM’s
should be available to help you if required. This is also a good time to discuss the
previous days Rehearsal Notes with your team and follow up any difficult notes that
emerged.
As rehearsals progress props and furniture will be added and cut, it is your
responsibility to manage this process in the Rehearsal Room. The following points
should be considered…
• Every prop and piece of furniture should have a rehearsal stand-in. There
should be something for everything.
• Try to get the rehearsal room as close to the set design as possible (within
reason). Be creative, search the prop and scenery stores for rostra and blocks
to use. Rehearsal doors are great if your set requires them.
• Where necessary, ask other departments to aid you in realising the above
issue, however only do this if it is crucial and/or the Director has demanded
that you do so.
• As actual props start to filter into the SM department, discuss the possibility of
using them in rehearsals with your SM. It may not possible, particularly if the
items are expensive.
• Remove any cut items back to the props/scenery stores as soon as it is
confirmed.
• Ensure kneepads are available for actors that require them.
• Ensure that spare scripts, pencils and other bits of stationery are available.
• Keep the room tidied and organised.
• Try to get rehearsal skirts and shoes (especially if the set has different levels or
a rake is being used) in rehearsals as soon as possible. This also goes for any
unusual costume that may restrict movement in any way.

Time Keeping
There are several area’s of time management that concerns a DSM. Again, a list...
• Advising on both the Rehearsal and Production Schedules.

• Cast timesheets.
• Adhering to policies laid down by Equity.
• Calling\advising on imminent breaks.
• Timing the read through and runs.
• A general understanding of both Equity and Musicians Union (MU)
regulations.
• Personal attendance and time keeping.
• Rehearsal Calls.
The sad tale of the repertory DSM.
At the end of a rehearsal day, when you have typed up your Rehearsal Notes,
distributed them, telephoned your cast their calls, typed and posted your call sheets,
set up for the next days run and tidied away all of you casts empty lunch wrappers and
cans, you get into your blacks and get ready to crew the evening performance (deep
sigh!).
Equity
“Equity is the only Trade Union to represent artists from across the entire spectrum of arts and
entertainment. Formed in 1930 by a group of West End of London performers, Equity quickly spread to
encompass the whole range of professional entertainment so our membership includes actors, singers,
dancers, choreographers, stage managers, theatre directors and designers, variety and circus artists,
television and radio presenters, walk-on and supporting artists, stunt performers and directors and theatre
fight directors.
Although we are a Trade Union, Equity is not politically affiliated and so does not make payments to any
political party. This puts Equity in the strong position of being able to lobby with impunity governments of
all political colours. We are however affiliated to the Trades Unions Congress and Equity delegates attend
the annual TUC conference as a means of bringing performers' issues to a wider audience.
The main function of Equity is to negotiate minimum terms and conditions of employment throughout the
entire world of entertainment and to endeavor to ensure these take account of social and economic
changes. We look to the future as well, negotiating agreements to embrace the new and emerging
technologies which affect performers so satellite, digital television, new media and so on are all covered,
as are the more traditional areas. We also work at national level by lobbying government and other bodies
on issues of paramount importance to the membership. In addition we operate at an international level
through the Federation of International Artists which Equity helped to establish, the International
Committee for Artistic Freedom and through agreements with sister unions overseas.”
From the welcome page of www.equity.org.uk

3H

Equity offers a student package at a greatly reduced

cost. If you are interested in joining Equity as a student
Lorne Boswell
Drew McFarlane then please call the number opposite or log onto
Irene Gilchrist www.equity.org.uk
Equity The importance of knowing the basic policies that

114 Union Street
equity lays out in its handbook means that you have a
Glasgow
G1 3QQ well established framework to work from. It is
tel: 0141 248 2472 important to ensure that these policies are adhered to, so
fax: 0141 248 2473 long as your tied to an equity contract. Equity usually
insists that an Equity Deputy be voted for by the
www.equity.org.uk
company prior to rehearsals starting (it’s usually
someone who hasn’t done it before, like a graduate on
their first job). This person then becomes the link
between the Union and the company.
The following are some Equity rulings that are the most pertinent to the role of DSM.
A full copy of the Equity ITC agreement which outlines all of its rulings is available
in the Stage Management office. If you want a copy of the agreement please bring a
blank floppy disk or a USB pen drive to me for copying.
COLLECTIVE AGREEMENT
This Agreement sets out the terms and conditions which must be observed by
Approved Manager Members of the ITC (referred to as “Managers”
throughout this Agreement), for the engagement of Performers and Stage
Managers (referred to as “Company Members” throughout this Agreement).
Length of Working Week:
The working week shall be no more than 43 hours (excluding meal breaks) worked
over no more than 6 days except that there can be one designated production week
in each production period where a maximum of 47 hours may be worked without
overtime being due.
The maximum working day shall be 10 hours (excluding meal breaks) and those
hours shall fall between 8.00am and 12.00 midnight.
Breaks
Meal Breaks There shall be a one-hour meal break between morning and afternoon
working periods and between afternoon and evening working periods. Wherever
possible breaks shall be taken at mutually agreed times near to normally accepted
meal times. The Company Member shall have the right to refuse to miss a meal
break. Mutually agreed missed breaks shall be treated as overtime (see Clause E,
Overtime).
Tea Breaks There shall be a break of 15 minutes within any continuous working
period of 3 hours. Whilst working away from Base it is the Company Member’s
responsibility to ensure that this break is observed. It is accepted that this break is
not applicable to rail and air travel. The Company Member shall have the right to
refuse to miss a tea break. Mutually agreed missed breaks shall be treated as
overtime (see Clause E, Overtime).

Overnight Gap A minimum period of at least 11 hours shall elapse after the
conclusion of each day’s work during which the Company member shall not be
called. (see Clause E(2), Compensatory Rest)
1st Call of the Day The Manager shall notify the Company Member of this by 6.00pm
or the end of the afternoon working period of the previous day, which ever is earlier.
Minimum call The minimum call shall be counted as 3 hours even though the period
actually worked may be less.
FREE DAY
There shall be at least 1 free day for every 6 days worked throughout the
engagement and there shall not be more than 6 days worked between each free day.
(See Clause E(2), Compensatory Rest).
OVERTIME
Overtime is time worked in breach of breaks or in excess of normal hours. It will
be compensated by the following methods, in combination if appropriate.
TOIL (Time Off In Lieu)

A maximum of 8 hours overtime a week (or a total of 8 hours aggregated
over 3 weeks) may be compensated for by TOIL.
TOIL shall be given as a whole day free of calls and shall be given within
the subsequent week or as soon as possible thereafter.
TOIL must be given at Company Base except where the Company

Member and Manager agree otherwise.
Overtime Payment
The following types of overtime must be compensated by payment at the
appropriate rate and not by TOIL:
• hours worked in excess of 8 hours overtime

+ any work on a designated Free Day
+ work during the overnight break
• hours worked where time is not available to give TOIL.
+ Compensatory Rest (See Clause E(2), Compensatory Rest)
must also be given.
The overtime rate (i.e. up to 12 hours over 43 per week) shall

be 1
1/2 x the hourly rate (calculated as 1/43rd of the weekly salary
and to be reckoned in half hour segments).
Any overtime worked over 12 hours shall be paid at 3x the

hourly rate.
Compensatory Rest Compensatory Rest shall mean time off equivalent to

the rest period breached, rounded up to the nearest quarter hour, to apply in
the following circumstances:-
Breach of Overnight Gap Where there is a breach of the overnight gap

the Company Member shall be given Compensatory Rest within 2
weeks.

Breach of Free Day Where there is a breach of the Free Day,

Compensatory Rest shall be given within 6 weeks.
Working Time Regulations These Regulations mean that no more than 48

hours a week, on average, may be worked. This average should be
calculated over a reference period of 17 weeks or the run of the production,
whichever is the shorter.
Time Sheets Company Members shall complete and submit to the Manager
time sheets each week detailing hours worked. When on tour, Company
Members are responsible for making sure that breaks are taken. Where the
schedule and workload prevent breaks from being taken they will be
compensated for by overtime payment.
ITC / EQUITY AGREEMENT

FOR PERFORMERS AND STAGE MANAGERS
Terms & Conditions
2002 – 2003
The more that you make yourself knowledgeable of Equity’s rulings and commit
them to memory, the more employable you will become and the rehearsal process
becomes better managed.
Production Meetings
A company will endeavour to hold a Production Meeting once a week to gauge the
progress of the project. A DSM should be prepared to take minutes at these meetings
and distribute them. An agenda should be made available by the Production Manager
(who usually Chairs these sessions) to aid you in laying out the format that the
minutes should take. (See Fig.17. for an example of a set of Production Meeting
Minutes) Remember to bring your Book with you, it may need to be referenced
during the meeting. The A.O.B at the bottom of the minutes on Fig.17 stands for Any
Other Business. This is basically the Chair asking the meeting if there is anything else
relevant to discuss outwith the Agenda. The Agenda is a list of general topics that
need to be discussed during the meeting. They are normally laid out by department.
The use of Dictaphones is sometimes used, but unless it has a multi-directional mic
and is of good quality (i.e. expensive) then they are of little use. The cheaper
Dictaphones are designed to pick up a voice talking directly into it and not a lot of
voices in one room.

Fig.17 Spoon River

Production Minutes
16th May 2003
AGOS Conference Room
Present: David O’Neill (Chair), Jamie Mackay, Kevin Murray, Brendan
Savage, Sean Taylor, John Morson, Jo Dixon, Robin Mitchell,
Donna Sotomorettini, Gillian Affleck, John Wilkie.
Apologies: Mr Rice
1. Last Meetings Minutes:

• No Issues Arising.
2. Model Box/Set Design/Drawings

• 3rd (S.L.) Flat is cut.
• 4 Windows are being used now, instead of 5.
• Cyclorama to come up over top of set to form a ceiling to represent sky.
• Cladding needed for steel deck. Possibly more levels to be added from stock.
• Only windows to be gauzed.
• Browns (e.g. Dark Oak) and gold leaf trim to be implemented into colour
scheme.
• Book should break into 4 sections for one flat and 2 for other.
• Blackboard paint to be priced for bottom of one of the book sections. (to be
drawn on by cast. Cheaper alternatives i.e. matt black paint to be tested and
samples to be tried.
• Movable blocks or rostra to be added for cast to move about.
• Mr Sotomorettini noted that she was happy if the bookflat didn’t open. Mr
Murray will have a further meeting to discuss this design issue.
• Mr Wilkie to check availability of TV Studio in order to fit up the set for the
actors to work on the week before the get-in.
3. Wardrobe
• Miss Affleck requested a cast list, drawings and whether the band needs
costumed. Mr Murray will provide all of the above.
• Miss Sotomorettini is still looking for musicians to play in the band.
• The cast will consist of 4 actresses and 6 actors.
4. Workshop
• Mr O’Neill expressed concern as to whether the set can be fitted up in the time
allocated.
• Mr Savage is confident that it can be done in the time allocated, however it
will have to be planned meticulously.
• Mr Savage expressed concern over the building of the platform as he did not
initially cost it. More detail was asked for.

5. TSM
• Mr Morson expressed concern on how the book flat would flex when opened.
• Mr O’Neill & Mr Mackay requested that the set be fitted up in the paintframe.
Mr Savage replied with a firm “Yes”.
• Bent conduit to be used on either side of cyclorama to give it it’s curved
shape.
• A border will need to be hung along the front edge of the cyc to stop light spill
from above.
6. Stage Management.
• Mr Wilkie requested a props list.
• Most props will be from stock and emerge through the rehearsal process.
7. Paintframe
• Gauze to be lightly painted.
8. LX
• Cyc will restrict the use of downlight.
• Housing for LX fittings to be pre-rigged onto the back of the bookflat. These
housings will be made out of scrap wood from workshop.
• These fittings will have to be attached before the gauze.
• The flood bars will have to be hung before the cyc is hung.
9. Sound
• Miss Sotomorettini does not want the cast to sing along to recorded music.
• Recording of children singing may be required.
10. A.O.B.
• None.
11. Date Of Next Meeting
• Friday 23rd May 2003, AGOS Conference Room @10am.
Minutes Taken By John Wilkie, Resident Stage Manager

Meanwhile. Stage Management 2: Deputy Stage Manager Handbook
Back in
rehearsals…
Editing the Text
From the first day in rehearsals you will have been altering the text, cutting lines,
paragraphs and sometimes pages. Only the DSM maintains an up to date version of
the script. It is also crucial that this is done as it may affect several of the process’s at
a later date. Prompting becomes difficult if you don’t have a fully updated script, as
does cuing and running line and speed runs.
At times a Director may not be available to attend a rehearsal. Occasionally the

Director will ask the DSM (in the absence of an Assistant Director) to host a line run
for the cast. This is usually held in the Rehearsal Room with the cast sitting down a
saying their lines, sometimes at speed. The DSM then corrects any misquoted words
or lines. On even rarer occasions you may be asked to oversee a run (which usually
turns out to be a riot!).
Working the Script

As the blocking stage comes to an end, the Director and Cast will begin to add layers
to their blocking. Props will start to be used as the cast become much less reliant on
their scripts, this in turn, allows them to use both of their hands in order to create
specific business with their props and costumes. A great deal of talking also goes on
during these sessions, it is a good time to catch up with any blocking that needs
updating or lists that needs attention.
The Art of Prompting
In a way, this is where it all

Main Entry: 1prompt started for DSM’s, as Prompters.
Pronunciation: 'präm(p)t Situated DSC alongside the
Function: transitive verb footlights, in a wee box, our
Etymology: Middle English, from forefathers sat with the Prompt
Medieval Latin promptare, from Copy in front of them and threw
Latin promptus prompt lines to Henry Irving, Ellen Terry
1 : to move to action : INCITE and other foosty old Victorians.
2 : to assist (one acting or reciting)
by suggesting or saying the next However, on a more serious note,
words of something forgotten or prompting is fast becoming a
imperfectly learned : CUE rapidly diminishing skill.
3 : to serve as the inciting cause of Learning to read an actors body
- prompt·er noun language prior to a dry can often
alert you to an imminent prompt.
When acting “companies” were
more prevalent this was an easy
skill to hone, as you worked with
the same cast throughout the
season. You got to know them
and learn all of their little
idiosyncrasies.

Prompting continued…
In some Theatres there may be a “no prompting” policy. This is in place to put
pressure on performers to learn their lines thoroughly and avoid disrupting the
performance in any way.
When a performer has dried and requires a prompt they will usually ask for it by
saying “Line”. You should then deliver the line clearly and quickly. There should be
little or no gap or pause between the actor asking for a line and you delivering it. Try
to read one line ahead of the performer, look for tell-tale signs of an imminent dry,
you will find that most actors have some subconscious idiosyncratic gesture that
preludes a dry. For example, one actor may scratch his chin every time that he is
about to dry, whilst another may bite his lower lip. Recognising body language takes a
lot of experience and time in various rehearsal rooms. Having worked with the
performer on other productions makes this process easier with every new occasion
that you work with them.
Some performers prefer to simply walk offstage to you and read the line directly from
your Book. This holds up the proceedings slightly but avoids the audience hearing
you, it may also look as if it is part of the action, if done subtley and in the correct
context.
Line Runs
On occasion individual cast members may ask you to go over their lines with you, this
is a courtesy and not part of the standard DSM remit, however it does acquaint you
with the performer in question.
A Line Run is usually conducted when the Director is absent from Rehearsals for
whatever reason. The DSM is usually left in charge of these sessions and will correct
any mistakes made by the cast. It is also quite common for the cast to have a line run
if there has been a day off between performances e.g. Sunday. Depending on whether
you are busy or not, you should provide a room for this run (usually a Dressing Room
will suffice) and decide whether it is beneficial for you to attend or not.
Provisional Settings List
As props get added, you should begin to compile a Provisional Settings List. This will
eventually be handed to your Stage Manager (prior to the Technical) for them to
complete before the 1st Dress Rehearsal. A provisional settings list, as the name
suggests, is simply a non-exhaustive list of where all the set dressing, furniture and
props are preset. It is important that the Stage Manager gets this list prior to the
Technical so the SM Team can begin to set up. The more detail that you can put on
the list, the better as this will lessen the workload on your Stage Manager later on in
the process.
Fig.18 is an example of a full Settings List, as would be produced by a Stage Manager

from the DSM’s Provisional List. I have included this to give you an idea of how the
Provisional List should be set out, though it would not be as detailed, many of the
items that weren’t in Rehearsals can only be added after the Technical Rehearsal.

Fig.18. Stage Management 2: Deputy Stage Manager Handbook
Filth
Settings List
Set:
Wall
Carpet
Scaffold Cage (With Flap & Water Drop full)
Sink Unit (Behind Cage)
Coat Stand (on U.S.L. corner of carpet) Traffic Cone on top.
Water Tank ¼ Full (On Shelf Behind S.L. Wall)
Table (C.S.)
Swivel Chair (Against O.S. corner of Filing cabinet)
Filing Cabinet
Locker (On P.S. Pros.)
Light box & Shut Blinds (On Wall)
Xmas Tree (with Coloured & White Lights)
Flies:
2x Coolie Lamps (Big above Corner of Wall. Small above Hi-Fi)
Snow Dropper (With 3x Small handfuls of snow)
On Table:
10
7
9 8
13
6
1. Cream Phone\Answer Phone

2. Plate of Biscuits (x5) Napkin on top.
3. Pot with Pens & Dry Wipe Marker. (under front edge of lightbox).
4. Remote fro T.V.
5. Whiskey Tumbler.
6. Gap for Tam to sit.
7. Fax Machine with Memo in Front Slot.
8. Out Tray with Few papers & Scissors (set f’ward of lightbox)
9. In Tray with Papers & Rubber Stamp. (set f’ward of lightbox)
10. Black & Blue Binders.
11. Red Phone (Stuck Down).
12. White Pad, Silver Pen & Reading Spectacles.
13. Efan Wurie File under front flap of beige paper folder. Photo in 2nd page &
blue Tac on back.

Under Table:
1
4 2 3
B A
1. 2x Cardboard Boxes (Big one on top) with:

A: Round Whiskey Bottle ¾ Full.
B: Pint Glass ½ Full (Real Beer).
2. Bomb Tank & 2x Small Maroons (Primed)
3. T.V. on stand with birdie inside (facing U.S.) and coiled cable
4. 2x Traffic Cones (on top of each other)
Metal Bin (Right of Table)
Pool Cue Leaning against S.R. end of Light Box.
Black Suitcase (S.L. side of Filing cabinet) with:
Police Hat on bottom left side of case.
Shoes (laces undone) on right side of case.
Jacket folded and unbuttoned.
Black Tie.
White Shirt (top 2 buttons undone) folded.
Trousers on top (unzipped) with belt.
Case closed with buckles through loops but loose.
Filing Cabinet:
Hi-Fi on top (near back) decks closed & empty.
Photo of Stacey in frame (in front of Hi-Fi)
Top Drawer: Kit-Kat in box (1x finger ½ wrapped in foil)
Empty Tape Boxes.
Deep Purple Tape (in Box)
Another tape (not in box).
Strategy folder in first sleeve)
2nd Drawer: Folder with: Photos of Begby (SB), Setteringtam (AM),
Gorman (AJ) & Ocky. Dressing papers behind.
3rd Drawer: 2x Red Tinsel.
Bottom Drawer: Frank Sidebottom Puppet (Head D.S.)
Small Vodka Bottle (white tacked to inside of drawer.)
¾ full of water. No top.
Triangular whiskey bottle ½ full.
Xmas Tree (S.R. of Filing Cabinet) with white & coloured lights on it. Cable neat &
coiled) Santa hat on top.

Small Pinboard ( behind tree) with: Various dressing.

Photo of Amanda Drummond, behind
elastic on bottom left.
2x Balloons (1x long, 1x round) above small pinboard.
Flip Chart (On O.P. Pros) Chart closed.
“What does racism mean to you?” on 1st
blank page (blue tacked).
Black Marker on small shelf at bottom.
Locker:
On Top: Tesco Bag with shopping & 4 Blank Videos.
Deer Stalker Hat (in front of bag).
U.S. End: Hook & Ladies Coat.
Fart Machine (on)
D.S. End: Football Photograph.
Golf Club (O.S. Hook)
Shotgun (broken) on off stage hook.
Back of door: Mirror (at top on hook)
Photo of Lennox\Bruce.
Inside : White card as backing.
Top Shelf: Hammer in clear bag. Tied with evidence tag
Lipstick & Eyeliner (in small box)
Left ladies black shoe.
Middle Shelf: Wig on smaller part of hook.
Dress on big part of hook (in front of wig)
Tights (over top rail).
Right ladies black shoe (behind dress)
Bottom Shelf: Fire FX.
Cocaine wrap\Credit card\ Silver straw.
Door: Key glued into hole. Door Closed.
Cage:
Sink (cold tap working)\plug in hole\nailbrush
White hand towel (on rail under)
Bucket under sink (to catch water)
Extra bit of black Gaffa (on U.S. of O.S scaff bar @ head height).
Cardboard Box (leaning against bottom of cage vertically, bottom facing D.S) with
various rubbish & Dressing Gown inside, on bottom.
Dartboard (on floor) S.L. of table with 3x Darts.
Edinburgh Map (behind cage) with: 8x white tac (various places, quite high up)
Pins at various places.
Pin at Craiglockhart.

Light switch S.L. of Edinburgh Map (set in up position).

Scotland Map (S.R. of table)
P.S. Props Table

Black Book
Police Review (Fliers out)
Briefcase with:
Front Section: The Sun Newspaper.
Middle Section: Pharmacy bag & Vermolax Bottle.
Back Section: Sunday Mail (Article\Photo of Tam stuck on pg 5)
Deli bag & Sausage roll in napkin\Plastic brown coffee cup with lid & coffee (1\4
full)
Towel
Water & Cups
Prompt Desk:
Firing Pistol and caps.
Behind Set:
Smoke Machine behind U.S.L. corner of wall.
Smoke Machine remote at prompt corner.
Control for Blind C.S. behind wall.
Maroon firing mechanism at prompt corner.
Dressing Room:
Suit Jacket with: Photo of Sinky (white tack on back) inside pocket.
Wallet with photo’s of: Lorna
Lise
Kate
Chad
Helga
Suit trousers with: Fart Machine remote control.
Overcoat with Police I.D. Badge in Left hand pocket.

Provisional Running List
The best time to finalise your Provisional Running List is when the cast run the show
in rehearsals, indeed it is the best time to also complete all of your provisional lists.
As you know an individuals Running List is a complete list of duties that they have
been assigned during the run of a production. A Provisional Running List is a general
list, created by the DSM in Rehearsals for all of the SM Team. Starting from the
beginning of the play, the DSM lists all tasks that are obviously Stage Management
tasks, an example of a Provisional Running list follows (see Fig.19). A copy of this
list should be handed to your ASM’s and SM prior to the Technical Rehearsal. This
list is created to give the SM Team something to start the Technical with. No member
of the Technical Team on the production should begin a Technical Rehearsal with a
blank note-pad, it is the DSM’s job to ensure that they have something to work from. I
have listed a number of points to aid you in laying out your Provisional Running List.
• When you list a task, ensure that you add what page the task occurs on. This
gives the user an idea of how long that they have between their cues.
• Give an outline of Scene Changes in your list. Again, you can only list what
you have encountered in rehearsals or bits and pieces of detail that you have
picked up along the way.
• List Fly Cues. This gives everyone using the list very definite visual markers
as to where they are in the script.
• List where these tasks happen, even if it is a very general location i.e. Prompt
Side, Stage Right etc… the more detail the better.
• List any Actors that are involved in, or may be affected, by the cue.
• Leave space in your layout for the user to note their own changes.
Provisional Fly Plot
As with any of the Provisional Lists that you compile as a DSM, the Provisional Fly
Plot relies on the information at your disposal within Rehearsals. The information for
both the Provisional Fly Plot and the Sound Plot (see next Provisional Sound Plot)
will often have to be coaxed out of your Director in order for you to present the
finished list to the relevant parties, before the Tech. A meeting to ascertain cue
positions, with the Director and yourself is extremely helpful and this can include
Sound, Fly and any other miscellaneous cues that the Director has pre-planned. There
is little point in adding LX cues at this meeting as they will all be set during the LX
Plot. Fig.20 is a half decent example of a Provisional Fly Plot.
It is useful to add page numbers onto this list for the same reasons set out in the
Provisional Running List section.

Provisional Sound List
Following the same restrictions as the other provisional lists, compiling a Provisional
Sound List is only as good as the information provided from rehearsals. Having said
that, it is better to hand in a list with only one cue on it than with none at all. (Fig.21
depicts a typical Provisional Sound List). Again, a meeting with the Director would
be ideal at this stage. The chances are that your Assistant Electrician or Sound
Designer will have a full list compiled by themselves, from various sources, this need
not matter. The very least a Provisional List will provide would be to ensure that cue
numbers match that of others and that nothing has been missed by either party.
A General Note on Provisional Lists
These lists aid in the more efficient running of the Technical Rehearsal and
subsequently the Dress Rehearsals and actual performances. After the lists have been
compiled it is advised that the DSM talk through them with the relevant departments,
updating them where information that the DSM was not privy to, has been omitted.
The end result should be that the DSM has matching cue numbers with that of the
department in question. It also serves to bring up any omissions or discrepancies in
information between the DSM and the Sound, Fly and SM departments.
The Provisional Running List is the only example where the Directors input isn’t
usually required. This list is normally compiled solely by the DSM and their
knowledge of Stage Management.

Fig.19
Backstage Hell
Provisional Running List
Pg 1 Mr Macluskie enters U.S.L with breakfast tray.
Pg 4 Page curtains for Mr Macluskie’s exit.
Pg 12 Move 6 x suitcases from S.L. Props Table to S.R. Props Table
Pg 12 Fly Q 1: Starcloth IN.
Pg 14 Fly Q 2: Starcloth OUT.
Pg 20 Tray of candles on D.S.L: Mr McCall
Pg 21 Act One Scene 3 Scene Change into Act Two

• Strike candles
• Strike Bed Truck
• Strike Magazines from couch
• Move S.L. Bentwood Chair to D.S.L marks.
• Set Handbag with hanky, lipstick & letter from Mary on coffee table.
• Fly Q 3: Blood cloth IN (when bed truck is OFF)
• Miss D’meanar on C.S.R with shopping trolley (page blacks).
Pg 24 Fly Q 4: Blood Cloth OUT
Pg 27 Miss D’meanar exits through auditorium, unlock pass door for quick
re-entrance U.S.L
Pg 31 Fly Q 5 4x Trees IN
Pg 36 Interval Change
• Strike couch
• Strike coffee table
• Strike shopping trolley
• Strike rug
• Set 2x urinals
• Set 4x Wash hand basins
• Make coffee for tray
Pg 37 Mr Macluskie quick change U.S.L into formal evening wear. (45 seconds)
Pg 43 Fly Q 6 Black Cloth & Border IN
Pg 44 Statue of Christ set U.S.C behind Black Cloth
Pg 49 Fly Q 7: Black Cloth & Border OUT

Fig.20
Backstage Hell
Provisional Fly Plot
Pg 12 Fly Q 1: Starcloth IN
Pg 14 Fly Q 2: Starcloth OUT
Pg 21 Act One Scene 3 Scene Change

Fly Q 3: Blood cloth IN
Pg 24 Fly Q 4: Blood Cloth OUT
Pg 31 Fly Q 5 4x Trees IN
Pg 36 Interval
Pg 43 Fly Q 6 Black Cloth & Border IN
Pg 49 Fly Q 7: Black Cloth & Border OUT

Fig.21
Backstage Hell
Provisional Sound List
Pg 1 Sound 1 Pre-show Music IN Born Slippy - Underworld
Pg 1 Sound 2 Pre-show Music OUT Snap OUT
Pg 3 Sound 3 Dog Bark U.S.R
Pg 4 Sound 4 Music IN Fly me to the Moon
Pg 5 Sound 5 Music OUT Slow Fade
Pg 23 Sound 6 Music IN Chopin (?)
Pg 25 Sound 7 X Fade Chopin into Long Drone
Pg 33 Sound 8 Mobile Phone IN Snap OUT after 6 rings
Pg 36 Sound 9 Long Drone OUT Slow Fade OUT
Pg 36 Sound 10 Interval Music IN The Prodigy (selected tracks)
Interval
Pg 36 Sound 11 Interval Music X Fade with Redemption Song
Pg 36 Sound 12 Redemption Song OUT Quick Fade OUT
Pg 43 Sound 13 Music IN Benny Hill Music
Pg 43 Sound 14 Music OUT Snap OUT
Pg 49 Sound 15 Music IN Long Drone Fade IN
Pg 55 Sound 16 Music OUT Long Drone Fade OUT
Pg 63 Sound 17 Train Passing IN Pans U.S.L to U.S.R
Pg 65 Sound 18 End of show music IN TBD
Pg 65 Sound 19 End of show music OUT

Production Week

Production Week
This stage of the process is the most demanding week in the DSM’s remit, both
mentally and physically. Long hours and missed breaks are common place, stress
levels often reach fever pitch and working relationships are put under strain. This is
the point where all the weeks of pre-planning and preparation are put to the test. Some
of the most drastic changes can happen during this process and you can find yourself
having to re-think a great deal of your strategies and systems, sometimes from
scratch.
During Production Week, every department steps up a gear, there is a flurry of

activity from all areas and there can be an atmosphere of confusion and chaos all
around. This can often take a DSM by surprise, especially if the last several weeks in
rehearsals have been slow moving and carried out at a steady pace.
A standard production week breaks down into the following sessions…
• Fit Up
• LX Rig
• LX Focus
• LX Plot
• Technical Rehearsal
• Dress Rehearsal
• Opening Night
• The Run
Fit Up
A DSM is normally still in rehearsals during the fit up, if not then your SM will
probably need you at some time prior to the fit up starting to help marking out the set
onstage. In most theatres this process is carried out by the workshop or the Technical
Manager, in RSAMD the Stage Management Team do it. It is advantageous to
occasionally keep an eye on the set elements as they go in. You can then alert the
Director of any potential problems that may involve re-blocking etc…
LX Rig
Again the DSM in normally still in rehearsals at this point. There is no real part for
the Stage Management Team to play during the LX Rig, unless of course you have
nothing else to do, then you can lend a hand.
LX Focus
The only part that you may play in this process is to ensure that either the marks for
any furniture/set pieces are laid for the LX Team to focus on or the items themselves
are available. If the LX Designer requires the actual furniture then stand in items will
have to be found for Rehearsals. Check with your Director prior to removing any
items from Rehearsals.

LX Plot
This is usually the beginning of the Production Week for the DSM. Unless there is an
emergency, then that is the end of rehearsals and most of your work will now be
carried out onstage. The LX Plot is used to add any missing cues to the Book. It is
also a good time to add Stand By’s and Calls to your Book. Depending on the speed
that the LX Designer and Director work then you should have enough time to add
these elements, of course the main reason for this session is to create lighting states
for the production, this is where your blocking may be needed.
Adding Cues
As the Director and LX Designer (LD) plot the productions LX states, you can begin
to add these cues to the Book, ensuring that your cue numbers and that of the LD are
the same. Any of the following abbreviations can be used to mark in cues:
LX Lighting f/o Follow On
SND Sound or SD, Sound, SX b/o Black Out
Fly Fly’s
AV Audio Visual
SM Stage Management
FX Effect
As you add your lighting cues you can also add your Stand By’s (SB’s) in. The length
of time that you give for a Stand By depends on the pace of the performance on that
particular page of the script. A general rule of thumb is to leave a minimum of 4 or 5
lines and a maximum of half a page between the SB and the cue. Stand By’s can
always be shortened as you become more familiar with the cues during the
performances.
If there is a Fly Q is involved in the sequence then give the entire sequence a little bit
longer. This is due to the Flyman having to get to the relevant bar and releasing the
break.
When writing in several cues that go at the same time then group the cues using
brackets e.g.
LX 25
GO
Fly Q 5
A small note, in brackets next to the cue, will remind you of what the cue is.
The downward pointing arrow shows that the
e.g. (10) LX 25 cloth is coming in. The number in brackets
GO shows the fade time of the LX cue.
(Starcloth ) Fly Q 5

Fig.22 Stage Management 2: Deputy Stage Manager Handbook
Blocking Calls & Stand By’s Cues
Call:
1 M x’s DSL to G’s L This is you
call Mr Hart.
Mr Hart this
is your call.
Thank you.
S/B
LX 23 – 26
Sound 12 & 13
Fly Q 5
5 H x’s USL to chair.
G steps DSC.
9 H sits (facing U.S) LX 23

(Low Drone)
GO
Sound 12
LX 24 GO
LX 25
(Starcloth )
GO
Fly Q 5
LX 26
(Low Drone ) GO
Sound 13
20 H & G exit USL Fig.22 shows a Prompt

Ho steps to M Book page, complete with
Blocking, Calls and Cues.
As with blocking, cues and
calls should be written in
pencil.

Fig.23
HORATIO
To you alone.1
MARCELLUS
HORATIO
No, by no means.
HAMLET
HORATIO
Do not, my lord.
HAMLET
5
HORATIO
And there assume some other horrible form, 7
Which might deprive your sovereignty of reason Fig.23 shows the
And draw you into madness? think of it: LX 23 script side of the
The very place puts toys of desperation, Sound 12 above cuing sequence.
Clearly mark the word
And hears it roar beneath. onto which the cue
LX 24
goes on and it is
HAMLET helpful to re-write the
It waves me still. cues on this side also.
Go on; I'll follow thee. Drawing lines across
LX 25
Fly Q 5 the two pages to link
MARCELLUS
You shall not go, my lord. to the cues is optional.
HAMLET
HORATIO
LX 26
HAMLET Sound 13
My fate cries out,
And makes each petty artery in this body
As hardy as the Nemean lion's nerve.
Still am I call'd. Unhand me, gentlemen.9
By heaven, I'll make a ghost of him that lets me!
I say, away! Go on; I'll follow thee. Exeunt Ghost and HAMLET

Taking a Cue from a Move
Cuing from a move can be tricky to mark down in your Book. Linking to the
Blocking column may seem the obvious way to write your cue in, but this method
tends to lead to a confusing array of lines and is difficult to edit (you may rub out your
blocking in the process). I have listed (below) one possible layout…
Blocking Calls & S/B’s Cues

Call:
1 M x’s DSL to G’s L This is you
call Mr Hart.
Mr Hart this
is your call.
Thank you.
Try to avoid cross

referencing cues with
moves in the
Blocking column.
S/B Instead write them
LX 23 – 26 directly in the Cues
Sound 12 & 13 column.
5 H x’s USL to chair. Fly Q 5
G steps DSC.
(as H x’s to chair)
9 H sits (facing U.S) LX 23

(Low Drone) GO
Sound 12
LX 24 GO
LX 25
(Starcloth )
GO
Fly Q 5
LX 26
(Low Drone ) GO
20 H & G exit USL Sound 13
Ho steps to M

Calls have traditionally been treated as a courtesy gesture between Stage Management
and the cast. I believe this to have changed over the years and most DSM’s add them
by default now. Depending on the distance between the Dressing\Green Rooms and
the stage, calls are normally between 2 to 3 pages long i.e. 2 to 3 pages prior to the
cast members entrance. Another factor, again, is the pace of the performance and this
should also been taken into account. Lists of names should be alphabetical so as to not
give emphasis on any one performer over another. First names should never be used
and the prefixes Mr, Miss & Ms are standard (Mrs is never used).
In a professional theatre it is rare to find the backstage technical staff in the wings,
during a production for the entire show after the 2nd or 3rd night. They are usually to
be found in the Stage Management Office, Crew Room or Green Room. They rely on
your calls to summon them to the stage in good time before their respective cues. Try
to keep these calls cue specific and add the department wherever practical. e.g.
• “Stand by Stage Management for door slam”

• “Stand by for Scene Change”
etc……
After a while the technical team will learn to pick up points in the performance
themselves to mark where they are in the play, as they can usually also hear the show
relay from where they are. Even so, it is still advised to keep calling them until the
end of the run, just in case.
An example of several typical backstage calls are as follows…
• Beginners Calls
• Actors Calls
• Scene Change Calls
• Interval Calls
• Very Loud Bangs
• Emergency Calls
• Calls for major individual cues.
It is also standard practise to repeat the call, in order to avoid it being missed the first
time around.
On the following pages I have listed a standard set of Backstage and Front Of House
Calls that we use in the Academy.

Standard Backstage/FOH Calls
6.55pm Backstage:
Good Evening Ladies & Gentlemen. This is
your half-hour call. You have 30 minutes.
Thank You.
7.10pm Backstage:
Ladies and Gentlemen, this is your 15 minute
call. You have 15 minutes. Thank You.
7.20pm Backstage:
Ladies and Gentlemen, this is your 5 minute
call. You have 5 minutes. Thank You.
7.25pm Backstage:
Ladies & Gentlemen, this is your Act 1
Beginners call. Stand By……
Miss Anstey
Miss Butterfield
Mr Connolly
Miss Garland
Miss Harrington
Miss Anstey
Miss Butterfield
Mr Connolly
Miss Garland
Miss Harrington
This is your call.
Stand By……..
Stage Management, LX, Sound, Flies, Dressers

& Crew (add/remove departments as necessary)
Stand By please……
Stage Management, LX, Sound, Flies, Dressers

& Crew
Thank You.

7.26pm FOH:
Good Evening Ladies & Gentlemen. Welcome
to The Royal Scottish Academy of Music &
Drama. Please take your seats as this evenings
performance of “(Name of show)”
will commence in 3 minutes. That’s 3 minutes.
Thank You.
Backstage:
3 minutes until lights up ladies & gentlemen. 3
minutes until lights up. Thank You.
7.27pm FOH:|
Ladies & Gentlemen. Please take your seats as
this evenings performance of “(Name of show)”
will commence in 2 minutes. That’s 2 minutes.
Thank You.
Backstage:
2 minutes until lights up ladies & gentlemen. 2
minutes until lights up. Thank You.
7.28pm FOH:
will commence in 1 minute. That’s 1 minute.
Thank You.
Backstage:
1 minute until lights up ladies & gentlemen. 1
minute until lights up. Thank You.
7.29pm FOH:
is about to commence. Thank You.
_____________________________________
Backstage
Shortly after show Lights Up on Act 1 ladies & gentlemen. Lights
has started, in a free up on Act 1. Thank You.
Space.
Cast Performance Calls This is your call Miss Anstey

Mr Connelly
Miss Anstey
Mr Connolly
This is your call.

Thank You.

At the end of the show, when the stage has cleared and the cast are all in their
Dressing Rooms, please add the following call:
“Ladies and Gentleman, this evenings performance ran at (add running time),
may I take this opportunity to remind you of your next call, which is (add next
call). Thank You.”
Technical Rehearsal
The Technical Rehearsal is the culmination of all of your work thus far. It is your time
to learn and fine tune your cues, practise complicated sequences and put all of your
preplanning to the test. All of the shows elements should be ready for the Tech, it is
the common deadline for all departments. Depending on the Stage Manager that you
are working with, there are two main ways of managing a Tech, they are as follows…
Method 1 The SM runs the Technical
Several Theatres adopt this system, as it would seem to be the obvious

method. After all, it is ultimately the Stage Managers responsibility to ensure
that the show runs as smoothly as possible. All the DSM has to do is to
concentrate on cues and their Book. This method is used almost exclusively by
Opera. Radio Cans have made this method much easier to accomplish, as the
SM is no longer tied to a wing and can still communicate with all of the
productions operators. In most circumstances, Radio Cans are not a viable
option (mainly due to cost) and wired cans have to be used. Please see Stage
Management 2: Stage Manager Handbook for further details on this
method.
Method 2 The DSM runs the Technical
This system has a number of advantages and a few disadvantages. The main
disadvantage being that a lot is asked of the DSM during this process as they
have to cue the show and run the Technical. However, this is no more than the
DSM was doing during rehearsals. The advantage here lies with the fact that
the DSM is better placed than the Stage Manager as they have a better
understanding of both the show and of the cast. This is due to the fact that they
have been in rehearsals learning the production for the last several weeks.
Running a Tech is tantamount to crowd control, especially where a large cast

is involved. The first thing is to ensure that everyone is there and ready to go
at the scheduled time. That includes both actors and backstage staff.
The longest part of any Tech is normally always the beginning sequence, how
long this takes is often an indicator of how smoothly the rest of the session
will run. I find it useful, time allowing, to memorise the opening sequence,
especially if the show has a complicated beginning.

Fig.24 The Prompt Desk
PAGING
PANEL LIGHTS
SEQ
BLUE
00:00:23 STOP
SPLIT
OFF RALLY
WHITE
Display Reset Start/Stop
EFFECTS
STAGE
LV TEL
ON BT
OFF OFF BUSY WHEN LIT
READY
(ON) Cont.
FOH
Dressing Rooms
RING INTERCOM
LX SND FLIES USL
B
CALL Volume
A Master ON
ON OFF
A-B OFF (ON)
(ON)
RING SELECT B (ON)
-NORTHERN LIGHT-
The Prompt Desk

The Prompt Desk is most commonly found on Prompt Side (Stage Left), though in a few venues it is found on Opposite Prompt, when
this occurs it is known as Bastard Prompt. The prompt desk is the epicentre of operations during any production and should be looked
after by the shows DSM. It should remain free of any clutter and kept free of any liquids. Fig.24 shows the layout of a typical prompt
desk.
A H 00:00:23
I
K
J
B C L
D M
E
N
F G
A: Panel Lights Switchable between open white or blue bulbs (for show conditions).
B: Effects LV Button The Low Voltage Button is used mainly for pyrotechnics.
C: Telephone Ringer is used to cue live telephone rings you can choose either a
conventional BT ring or a continuous ring.
D: Call This button will flash when another person on cans wants to attract your
attention. Push this button and it will flash on all of the cans sets that are operational.
E: Volume adjusts the volume of your cans headset.
F: Ring Select Most cans systems have at least 2 different rings or channels. Usually
one is reserved for LX and the other is for everyone else. You can switch between
rings if required or have both on at the same time.
G: Microphone This switches your cans microphone on and off or continuously on.
H: Clock Functions These buttons control all of the clock/stopwatch functions on the
desk. They are self explanatory.
I: Microphone For Backstage & FOH Calls.
J: Paging Buttons These buttons control which areas that your calls are sent to. The
Stage button is usually disabled on most prompt desks.
K: Red Stand By Lights These array of red lights are for putting your operators on
Stand By. The light will flash until the operator presses the button on their Q-light
box, making it a constant red. This action alerts you to the fact that the operator is
standing by.
L: Red Stand by Buttons These buttons are used for putting your Stand By lights on.
Flicking them downwards allows you to do this.
M: Green Go Lights These lights are used for activating your cues. When the green
light is lit, indicates that a cue has been given.
N: Green Go Buttons These buttons are used for alerting the operator(s) that a cue
has been given. Flicking them downwards allows you to do this. Flicking them
upwards allows several cues to be triggered through the Master button (labelled) at
the end of the array.
Fig.24. shows a scaled up version of the Prompt Desk with all of it’s features labelled.

Operating the Desk
It is standard in most reputable companies for the DSM to cue both verbally and non-
verbally (i.e. Cue Lights). The cue lights are a back up in case the cans system fails.
These should be used all the way through the process, in order for the DSM to get
used to them. Cueing verbally and operating cue lights can be a bit like singing and
playing the piano at the same time. It takes a bit of time to get used to, but becomes
second nature, with practise.
The following is a list of professional protocols, used by the industry, for DSM’s
when beginning a cueing sequence….
Visual Cues i.e.
Example those cues taken
by an operator and
Verbally: “Stand By… LX 21 thru 24 (LX 22 being visual) not cued by the
Sound 15 and 16 DSM should be
Fly Q 4 given Stand By’s
nonetheless. It is
Thank You” also a good tip to
give the operator a
Cue Lights Flick LX, Sound & Fly Red Stand By description of
Buttons what happens
immediately
Operators (Verbally) “Standing By” before the cue
happens, to remind
Operators Click their cue light box button. them.
When all of the operators have acknowledged both verbally and through their stand by
lights, you are ready to cue the sequence when the cue line or move arrives in the
script.
A few words before the cue line begin to say your first set of cues in the sequence. On
the actual cue word or move, simply say “GO!”
Example
Just before cue (verbally) “LX 21, Sound 15………(cue arrives)…….GO!”
And so on, with the rest of the cues in the Stand by sequence…
Their may be a pause between saying LX 21, Sound 15….and the cue line, this
doesn’t matter. It is very difficult to try and time it so you say the whole line in one
unbroken sentence, this may also take the operators by surprise. They will sit poised
in the gap, as long as it is only a few seconds.

Paging Microphone
When doing Backstage or FOH Calls keep your mouth approximately 10 – 12” away
from the microphone, the Prompt desk microphone is extremely sensitive and doing
this will avoid deafening those backstage and FOH.
Etiquette on Cans
It is part of the DSM’s remit to maintain discipline over cans, this means cutting out
any unnecessary chatter and focussing the operators on the job at hand. There should
be NO chatter on cans during stand by’s, unless it is absolutely crucial i.e. a problem
has developed with the imminent cue. Operators should ask the DSM if it is OK for
them to talk at all times (not just during Stand By’s). Backstage Calls should not be
attempted during Stand By’s as there is little time when a sequence is upon you.
More Cans Etiquette :

"Quiet on Cans please" other operators must respond with silence.
"Going off Cans" when any operator leaves their headset
“Back on Cans” when any operator returns to their headset.
"Standby LX Q 11" operator responds : "Standing By"
"LX Q 11 Go" operator may respond "Running" if its a cue which is not
obvious, or is a
long fade. It is very important that the "Standby" is given at the start of
the phrase, and the "Go" is at the end of the phrase. "Go" is the only word
that can be used to initiate a cue. "Fade", "Stop" are NOT appropriate.
Switch your cans off when you aren’t using them.
Volume
The headsets are extremely sensitive, and can detect the slightest whisper.
All operators should talk quietly, so that you can all turn your headphones
volume up high.
Try to take the operator off Stand By at the earliest your earliest possible convenience
by flicking off their Stand By light. This is especially pertinent to Technical
Rehearsals as it is easy to forget to take them off Stand By due to a stop in the
proceedings.
When giving a GO on cue light do not flick the green on and off rapidly, this can be
easily missed by the operator, wherever possible hold the green button down for a few
seconds or more, this becomes difficult if the operator has a lot of quick-fire cues in
succession.

Holding
Inevitably, at some point (usually after the first cue) there will come a time when
either the DSM, Director, operator or cast member will hit difficulties and have to
stop. The DSM should then shout out clearly “HOLD!” and everyone (including
Actors) should freeze in the position that they are in and not progress any further. The
reason for the stop should be given to the Director, usually through the Stage
Manager. There is nothing more annoying to a Director than being left in the dark,
this could lead to frustration and eventually bad temper.
Several reasons why a Tech should stop
Techs can stop for a myriad of reasons and by several departments here are a few
examples….
• Directors changing their mind

• Missed cues
• Mistimed cues
• Mechanical failure of a set element
• Actors drying
• Prior to a pyrotechnics being fired
• Prior to a complicated set element being used.
There really are too many reasons to list.

Restarting
When recommencing, stand all of your operators by first then give the cast a line to
start with. Try not to go too far back, a few lines before the cue will usually suffice.
When all of the cast and operators are ready and the scene has been set back to the
point you want, shout “In your own time. Thank You!” (or something similar) and
away you go.
Remember that the technical rehearsal is not only for technicians, it is also for actors
to rehearse with any technical elements in the production. This includes basic
elements such as treads, ladders, rakes etc… They may be wearing awkward shoes for
the first time or an unwieldy period dress. All of these issues should be considered
before complaining that the Tech has stopped yet again for acting notes! However, the
Technical should not be used for in depth notes pertaining to character development
or changes in blocking that could have easily been altered in a rehearsal room. Again,
gauge the Director and make a decision on whether you should politely urge the cast
on, or not. It is often a fine-line to tread.
When running a Tech it is important to keep the cast enthused in order to urge the
proceedings along, it is easy to allow lethargy to sink in, mainly due to tiredness.
There is a real skill in doing this, especially when you are tired yourself and it is easy
to lose focus. It is a catch 22 situation in many cases as tiredness leads to mistakes
through lack of concentration, the more mistakes that are made the longer the session
will last. It can be self-defeating. Ensure that breaks are kept (see the equity rulings
section) to allow everyone a rest-byte from proceedings and make sure that everyone
takes their statutory breaks. A tech session usually only lasts a day, with a bit of an

allowance given for any overspill the following day. The pressure is usually at it’s
highest during these sessions, especially on the Director, who will want the Tech over
as soon as possible in order to be ready for the Dress Rehearsals the next day. The
whole schedule can be knocked out of shape if these sessions over-run. The
Production Manager, who constantly has an eye on the overtime budget, is also under
pressure. All of these pressures siphon down to the technical team and especially the
person who has been charged with running the Technical. i.e. you.
Dress Rehearsal
Once the Technical is over and all of the shows technical issues have been rehearsed
to everyone’s satisfaction, a series of full onstage runs commence. Ideally, two Dress
Rehearsals are the minimum that you would want prior to opening. This will depend
on the schedule and how the Technical ran. The main aim of a Dress Rehearsal is to
run the show, in it’s entirety, without stopping, under show conditions. One major
point to watch out for when attempting the first Dress Rehearsal is to be aware that
this is the first time that the show has been run to speed. Cues will come thick and fast
and can take the unprepared DSM by surprise. Concentration must be at it’s highest
during this session, time allowing, try to read ahead of where you are at in the Book to
anticipate the next set of cues, remembering to keep your eye on the script for actors
drying etc….
Anticipating Cues
Anticipating a cue is an exercise in timing. By knowing the pace and underlying

rhythm of the performance you can pull cues back a few words or seconds in order to
make up for the lag that occurs between you saying “GO!” and the operator starting
the cue. This is especially important when cueing a flying piece, it often takes a few
seconds for a flying piece to be seen after the cue has been given, you must anticipate
this and pull the cue far enough back for the flying piece to be seen by the audience
exactly on the cue point that the Director wanted.
Example
The director wishes for FlyQ 5
HAMLET to be visible on the word
It waves me still. “thee”, it takes 2 seconds for
Go on; I'll follow thee. the bottom of the flying piece
LX 25
Fly Q 5
to clear its header and be seen.
In order for the cue to not be
late and depending on the
speed of the piece, you can
anticipate the cue by pulling it
back to the word “on”, for
example.
When cueing a flying piece, try to keep an eye on it coming in, especially if there are
performers under or near to it. This isn’t always possible if you have a complicated
sequence to follow. If you feel a flying element is too fast or slow then tell your
Flyman to speed up or slow down, accordingly.

The Show Report
The Show Report is not a mechanism for chastising your fellow technicians, nor is it
solely for technicians errors to be reported. It is a report of any incident that has not
been rehearsed prior to the first night. 100% honesty is required when adding to the
Show Report. I have attempted to list some of the more common incidents that you
may find in a Show Report…
• Set pieces\LX\Sound equipment failing or malfunctioning

• Operator Errors
• DSM Cueing Errors
• Actors missing or improvising lines
• Actors missing or being late for entrances
• Actors corpsing
• Round of applause (R.O.A) for performance
• R.O.A for designs
• R.O.A for cue sequences
• Number of curtain calls should be listed (if any)
• Standing Ovations
• Heckling
• Audience complaints
Your first Show Report should be compiled and distributed after the first Dress
Rehearsal, though at RSAMD this has been moved to the second. I have changed this
due to the volume of errors that tend to happen during the first Dress Rehearsal, the
DSM would be their all night writing all of these down. This occurs simply because of
a lack of experience within the Company. As I have mentioned earlier, the Dress is
the first time that the production has run to time, cues will seem to hit you and your
operators at break-neck speed and the risk of making an error increases.
Having an ASM in each wing can aid you in filling in a Show Report, use them as an
extra pair of eyes and ears, along with your Stage Manager. At the end of the show, sit
down with the rest of the SM Team for 5 minutes and take down anything that they
have noted. It is the DSM’s decision (in consultation with the Stage Manager) as to
what goes in the report, a good SM will work with you to prepare a fair report.
The Show Report should contain only facts, there is no room for personal opinions or
feelings.
In some Theatres, the Show Report is a book that is to be filled out, it is then left in
the Stage Management office for all to access. In the Academy we fill in a report form
and then distribute these reports to the relevant staff. As there is no communal report
book for all to reference, it is imperative that everyone in the Company has access to
this document, so the cast should also have a copy emailed to them.
Fig.25 is an example of a Show Report.

Fig.25 Show Report
Production The Marriage of Figaro Performance 4
Venue
Audience 1260
Date 7th Feb 04 Show Evening
SM Kate McGeary TSM David Graham

DSM Angie Garland Prod.LX Jon Morson
ASM Kate Frost LX OP Mark Lovell
ASM Elisabeth Luafer Sound OP
ASM Gillian Park
Notes Act 1 & 2 Act 3 & 4

Interval
Playing Time Running Time
24Hr Fomat.e.g. CU CD CU CD
19:30
19:03 20:34 00:20 20:54 22:14 02:51 03:11
01:31 01:20
Notes
R. O .A for every Aria and end of Acts
A Ladder slipped in the Act 1 into Act 2 Scene Change
Mr Mann 10mins late for the Half
LX 23 late – DSM Error
LX 34 late – DSM Error
LX 56 late – Mr Lovell Op error
Mr Leegoh (TSM) missed 2nd Scene Change – Miss Blativasky (TSM) did his cues
2 Curtain Calls
Signed Angie Garland

The Run

Setting Up, Checking and Starting the Show
The DSM plays an integral role in both setting up and checking. The following is an example of the
procedure leading up to a performance.
Setting Up
Starting at this
time allows you to
16:00 Call for Set Up buy any running
Set Up for show starting onstage. props or
Buy Running Props if required. maintenance items
A good time prior to the shops
17:00 Dinner to have a chat closing.
with your
team.
18:00 Continue Set Up
Checks If running
late you can
open the
18:30 Start Check – Onstage first. house and
• SM Reads from a single Master Settings List. continue
• DSM Touch Checks checking in
• ASM(s) act as runners the wings.
Don’t trust
Check Wings signing in
sheets. Check
18:55 Half Hour Call that they are
• DSM Calls the half actually in
their dressing
• DSM Checks Personals & Actors
rooms. Try to
• DSM returns and checks Prompt Desk & Q-Lights. check their
• DSM tells SM that their checks are complete. personals
with them.
19:15 SM announces that “the house is now open” backstage.
• SM Opens House
19:20 5 Minute Call
Running The Show
19:25 Act One Beginners

• DSM Calls Beginners
• ASM(s) Checks Beginners are in position.
19:26 Three Minutes to Curtain Up
19:27 Two Minutes to Curtain Up
19:28 One Minute to Curtain Up
19:30 FOH Clearance
• DSM Stand Operators By.
• ASM(s) Stand Actors By verbally.
• SM lets DSM know to start the show.

Opening Night
After a number of Dress Rehearsals and perhaps a Public Dress and/or Preview, the pressure reaches
a new and final level. This time you do it with a paying audience. This is the point that every
department has been working towards. If working in a Repertory Theatre, you put aside thoughts
that on the following Monday the process begins again with a new play. Adrenaline keeps your
exhaustion at bay as you try to keep resolutely focussed on the job ahead. All of this on top of trying
to look outwardly calm and in control…
One of the most common causes of human error is either exhaustion, complacency or boredom. The
former is most likely to be present after a long Production Week and during the opening night. This
tends to be counteracted by adrenaline. Complacency is a result of lapses in concentration often
caused by boredom or exhaustion. A long run of a show alongside a script that you may personally
not like, can bring boredom on swiftly.
The Strike & Returns
The DSM is expected to fulfil their remit by completing both the Strike and Returns. If working in a
Rep theatre then you will probably have been working on the next show during the day and calling a
show in the evening. Equity has very strict rulings over statutory breaks between rehearsals ending
and the evening performance, familiarise yourself with these policies and try to ensure that both
yourself and your cast get the required breaks.
Once the show is over, your Book should be handed to your Stage Manager for filing. The Book
does not belong to you, it is treated as a commissioned work that the company has paid you to
compile on their behalf. It will be archived and used as a reference for future revivals or as an aid to
propping Productions that require the same props or set elements. After a length of time, some
companies send their past Books to the local library for public reference.
If you are working on a world premier of a new piece of writing then there is a chance that your
Book may be used by a publishing company to create a published version of the production.
Royalties for such an undertaking usually go straight to the company that commissioned your work,
though at times it is possible to negotiate a royalty fee with the company concerned.
To sum up
To sum up the role of the DSM is not an easy task, it is a job that can take you on a rollercoaster ride
of highs and lows. The feeling of achievement after a successful opening night can leave you feeling
exhilarated and extremely satisfied, yet an arduous Rehearsal and Production period can see stress
levels dent your confidence and leave you both physically and mentally exhausted. So much is
dependant on a DSM performing to a high standard that a Production can suffer severely if this is not
the case.
Remember…..
“With great power, comes great responsibility”
Spiderman’s Uncle (2003)


Deputy Stage Manager

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Stage Management 2: Deputy Stage Manager Handbook

© John Wilkie 2005 1

The Acting Process 6

Communication & Interpersonal Skills 7

Repertory Production Timeline 9

Stamina, Patience & Concentration 10

The Rehearsal Process

Tools of the Trade 12

The Read Through 13

Preparing the Rehearsal Room 14

Compiling the Book 15

Company Rehearsal Call Sheet 21

Cast Availability Chart 22

© John Wilkie 2005 2

Blocking Notation Examples 27

Sectioning the Page 30

Working the Script 38

Provisional Settings List 39

Provisional Running List 44

Provisional Fly Plot 44

Provisional Sound List 45

Example of a Provisional Running List 46

Example of a Provisional Fly Plot 47

Example of a Provisional Sound List 48

© John Wilkie 2005 3

Example of a Prompt Book Information Page 52

Example of a Prompt Book Script Page 53

Taking a cue from Blocking 54

Backstage & FOH Calls 55

Standard Backstage & FOH Calls 56

The Prompt Desk 59

Operating the Desk 61

The Show Report 65

Example of a Show Report 66

Setting Up, Checking and Starting the Show 68

© John Wilkie 2005 4

© John Wilkie 2005 5

© John Wilkie 2005 6

© John Wilkie 2005 7

© John Wilkie 2005 8

The Acting Process

Drying – When an actor forgets his lines.

© John Wilkie 2005 9

Excellent Communication & Interpersonal Skills

© John Wilkie 2005 10

• Cast & Crew Contact Sheets.

© John Wilkie 2005 11

© John Wilkie 2005

• Provisional Fly Plot

• Prov. Sound Plot

Q’s, S/B’s in Book LX Focus\Plot

Update Book Technical

• Start Rehearsing next

Begin to Fit Up Next

Stamina, Patience and Concentration

© John Wilkie 2005 13

The Rehearsal Process

© John Wilkie 2005 14

Tools of the Trade

• A4 Lever Arch Binder

• Multi-tool e.g. Leatherman, Gerber etc…

• Several roles of PVC (LX) Tape (different colours).

© John Wilkie 2005 15