(Adult/Student)
This is a very precarious position. Sometimes there will be a student who can handle it but frequently there will not. In either case, it would be wise to have an adult host available at all technical rehearsals to deal with any tricky situations. The stage manager needs to be well versed in:
The capabilities and operations of the host facility.
The capabilities of the host crew.
The rules of festival.
Communicating with guest crew.
Communicating with the host crew.
Communicating with the guest directors.
The situation to avoid is where the guest holds the host stage manager responsible for some failure in the guest production. Sometimes the host stage manager or crew can be an easy scapegoat. Sometimes it is deserved. It can be reassuring to the guest to see an adult in this position or at least overseeing the student and available to mediate any disputes. A board member can serve well in this role also.
In the weeks prior to the festival the stage manager will:
Assemble the crew.
Hold training sessions to teach the crew their responsibilities and be certain they understand the rules and procedures of the festival.
Develop or secure the necessary paper work to track the requirements of each production.
Determine presets for all curtains, legs, teasers, electrics & anything else back stage that might change from show to show.
Secure an adequate supply & variety of spike tape.
Organize & review Technical Information Forms sent in by participating schools. If there are questions, call that schools technical director or director and get answers.
Learn the festival rules inside and out.
Review the rest of this packet. Pay particular attention to the responsibilities of the rest of the crew, the house manager, timers, master of ceremonies, load-in host & technical director.
Review procedures of calling the festival cues with the lighting host, sound host, house manager, curtain operator, master of ceremonies and the host crew.
Create a table or check list (see next page) to be used during techs and performances to record the preset information for each show. Use a separate page for each show. Start with information gleaned from the Registration Form & Technical Information Form. Leave an area on each page to be filled in quickly (circle or check boxes) during and just after each technical rehearsal. Start with these forms in technical rehearsal order in a loose leaf notebook. As shows complete their technical rehearsal, reorganize their forms into performance sequence. This book is your bible. An example of the table follows below.
Assign spike tape colors to schools. Try to use colors that are easiest to see on your stage for show that depend heavily on spike tape visibility. Consider the number of scene changes to be done in blackout. Consider the number of set pieces. If there are still options, consider their school colors. Finding enough different spike tape colors for a 12 show festival is usually not possible. Carefully plan spike tape assignment so that some colors can be recycled (used again) after a show has performed.
Post the festival schedule in both wings and the load-in area where your crew can easily refer to it.
Each day of festival (this includes the day before if there will be early technical rehearsals):
The crew should be on call at least 30 minutes before the first event, be it rehearsal, show or ceremony. If anyone is late call immediately and arrange to cover the position if necessary.
Have the stage swept.
Peel up spike tape that is no longer needed.
Have the remaining spike tape checked and fixed.
Have everything put in its preset position or set position for the first event.
Make certain a dimmer check is done.
Make certain a sound system check is done.
Organize your paperwork for the day. Shows will probably tech in one sequence and be performed in a different sequence.
Prior to each technical rehearsal:
Greet the incoming guest company 5 to 10 minutes prior to the start of the tech where ever they will be waiting to come back stage or in the wing.
Introduce yourself. Meet the guest Director, Technical Director, Stage Manager, Lighting and Sound Techs.
Explain very briefly how the tech will be timed and where their set must be at the start of their tech time. At some festivals, sets can be preset in the wings but at others they may need to start from outside the theatre or in the house.
Explain the available intercom locations. Offer an intercom in the house to directors if it is available.
Determine when the director wants to be timed for set and strike. This can be done at the beginning & end of the rehearsal or at any other time during the rehearsal. The director may choose to be timed at the performance only. If the set or strike go over the time limit during the rehearsal they can try again if there is time or be timed once more at the performance.
Verify that the information on their Technical Information Form is correct.
By now the rest of the host crew should be done sweeping and presetting. They should join you so that you may introduce them as a group. Explain that they will wait quietly in the wings to answer any questions or provide help on request.
Introduce the guest & host lighting & sound techs. The hosts should now take the guests to the lighting and sound areas.
Give the guest stage manager a roll of spike tape.
At each technical rehearsal:
When the set is in its pre-technical rehearsal position. Inform the director that you are going to start the technical rehearsal timer. Be flexible to a degree but do not allow the festival to get too far off schedule. Most directors are very cooperative but occasionally there is one who will take all they can get.
Stay within earshot and sight of the director and/or technical director and/or stage manager so that you can respond quickly to their question or maybe even anticipate them. Do not make them have to find you. Pay attention to what they are doing. Do not engage in idle conversation. This will distract you from your guests needs. Always respond quickly, politely and respectfully to your guests questions and requests. Your goal is for their tech & show to be as good as they can be.
At some mutually convenient time, discuss the cueing of house lights out and curtain open at the start of the show with the guest stage manager and lighting tech. Establish who will do what and when. You should not turn control (intercom, house lights, stage lights) over to the guest until you, the host, are ready for the show to begin. You need to be certain that the house is ready and it is not earlier than the scheduled time for this show to begin. This is all to avoid a false start where the show needs to be stopped and started again or the situation where the lights go out and the house stays dark for an inordinate time before the show begins.
Be sure that who ever is to run curtain knows how and that it is clear just who that is (host or guest).
Coordinate the timing of setup and strike of the set. This can occur at any time during the technical rehearsal including the very beginning and the very end. It is not required that set and strike be timed during the technical rehearsal. Make sure that there are no adults involved in either of these timed events. All adults should remain quietly in the house. It is acceptable to time the setup of the set before spiking it as long as everything, set, furniture, props, decorations, actors are close enough to the correct position that the show could run. Later, during the technical rehearsal, the positions can be fine tuned and spiked. The sets, props & actors that are on stage at the end of the show are what need to be timed in the strike.
See to it that legs, travelers and flies get spiked with the appropriate spike tape by the host crew or guest crew.
Record everything the host crew needs to preset for the actual production of this show.
If the tech rehearsal cannot proceed at any point through some fault of the host, the host stage manager will signal the timekeeper to stop the clock and the guest school will be asked to leave the stage until the problem can be fixed at which time the clock will resume.
Prior to each performance:
Have your crew preset everything according to the information that was recorded during the tech for this show.
Have the stage swept.
Give the incoming company a 5 minute warning to load-in. Also tell them how long it will be till show time.
When you are ready, cue the incoming company to load-in.
Give a 5 minute cue for show time.
At each performance:
If this show still needs to be timed for setting their set, time it now.
Be sensitive to the fact that there may be a public critique taking place in the theater. If the guest crew cannot set quietly, then stop them and ask them to wait till the end of the critique. If they need to set DS of the main drape you may have them quietly move the set on stage during critique. After the critique, open the main and move the set DS.
Check with your crew to be sure that all host presets have been taken care of.
Turn control (intercom, house lights, stage lights) over to the guest when you, the host, are ready for the show to begin. The House Manager should tell you when the house is ready, the adjudicators & consultant are seated and attendance has been taken. Be certain it is not earlier than the scheduled time for this show to begin. This is all to avoid a false start where the show needs to be stopped and started again or the situation where the lights go out and the house stays dark for an inordinate time before the show begins.
During the show, if you have done your job, there should be nothing to do. Remain available and attentive but stay out of the way. That goes for the rest of your crew too. DO NOT TALK IN THE WINGS. DO NOT play GAMES. It's distracting!
At the end of the show, regain control of the intercom, lights & sound. You should designate one of your crew to monitor the intercom in each wing for you.
If this show still needs to be timed for strike, time it now.
Have this set loaded out.
Tell the cast & crew where to wait for the cue to go into the house for their public critique.
Start loading in the next show.