The prompt book is sometimes called the stage manager’s bible as it holds all the information necessary for the day to day operation of the rehearsal and performance. In truth it may be more than one notebook but for the sake of argument let’s just refer to it as one notebook knowing full well that depending on the production it may be somewhat larger than a single notebook can withstand.
I'm inserting an update. So much has changed since the 21st century has arrived. New software is available to make the stage managers job so much easier. New methods of tracking, spreadsheet software, actor tracking software, etc is so much different now than it was 20 years ago. I'm updating this section of this book with the following criteria. The pencil is still mightier than the computer in speed. It's faster still for me to take blocking in my blocking script and then transfer the information at a more convenient time for longer running shows where accurate documentations is essential. If you're only running for a few performances than a lot of stuff we keep track of may not be necessary. I will also add a subpage or two about software in this section that I have found essential to my stage manager tool box. Read those as well as they may be helpful as well.
I usually start with a D-ring notebook. This allows the pages to sit more evenly in the notebook. Whether it is a two inch or four inch D-Ring is immaterial. The show itself dictates the size. This notebook will contain all the information for you to do your job on a day to day basis.
Using tabbed dividers I break the prompt script down into categories that reflect my production. I tend to be a creature of habit so the order of my tabbed dividers always follows the same format. This is not important. What is important is that you have the information at your fingertips to answer any questions you might have regarding the production and have it in such an organized fashion that you know where it all is.
The preparation of your prompt script is part of your preproduction responsibilities. While the notebook is called the “prompt book” it holds more than just the script information. Indeed, my first tabbed divider is always the Contact Sheet followed by the Calendar. Everyone morning I make a point of opening to the calendar as I prepare for the days rehearsal or performance. I look forward to what preparations might be necessary for future events as well as today’s events. Having the contact sheet there allows me easy access to phone numbers as I prepare the days events.
My tabs usually look something like this and in this order: (updates in parenthesis are ones that I have my stage managers turn in digital copies). This can be online that I can download and file or they can burn a CD. Either is acceptable.
NOTE: Some of this was written when computers and cell phones were just entering the mainstream. Much of this information I keep online on my digital callboard. Certainly Rehearsal Reports and Performance Reports are posted online and physically in the theatre. But now you can store groups in your cellphone. Your contact sheet can reside there. Google Tasks goes very well with Google Calendar. It allow me multiple lists that I can assign tasks with time lines to. If you are not computer savvy or if the place you are working still resembles the 20th century then no doubt going back to the old fashioned way may suit your purposes better. But only you can determine that.
I find it useful to type the script into my laptop computer1. Indeed, I insist my students do this. This does two things; it allows me to manipulate the script as I might need it (very important in musicals) and I really get to know my script. By typing the script by hand I can concentrate on the lines, the details hidden in the dialogue, the nuances of the characters, etc. It helps me get in the right frame of mind for the show by getting me into the world of the play.
There are occasions where the stage managers script is used on new productions to provide the stage directions you see in parenthesis for published scripts. Actors' Equity has provisions that reimburse the stage manager for preparation of such a script.
There is always the question of whether or not to include the stage directions in the typed document. I usually do with the understanding that it may not be necessary or relevant to our production. If I see that it is no longer needed it is easy to delete it. Once the show has opened I go back through the final script and make sure it is entirely accurate. I will make digital copies of this and share them with the director and design team as well as the producers.
The prompt book (and all other materials) should be updated as soon as the show has opened. Once the show closes I do the same thing as with the final script. I make copies for the producers and the artistic team should they need the records for the future.
Excel workbooks are useful in the same way that tabbed dividers are. With the workbook open you can easily access all the same information as you would have had if you had printed them. This saves paper and the ecology and saves you some money in paper expenses as well. Recently, the students in my program have embraced google docs and share our materials with each other. This is extremely useful in keeping one document up to date with as little effort as possible.2
If you are going to embrace the digital world with your efforts be sure to keep a backup somewhere.2 With shared documents you can have multiple editors and multiple readers. You and your assistants can be instantly in touch with your growing document list. Your ASM's can stay up-to-date and with the props master in real time if necessary. With RSS feeds, the ease of web posting, twitter, and all the new social contact interfaces out there a wealth of access is available. However, you need to respect the work of the artists and insure that none of these interfaces, no matter how convenient they may be, interferes with process taking place in rehearsal.
With some productions it's unnecessary to have a separate blocking and calling script. Ultimately you have to decide what is most appropriate to you. With a production I did some years ago of Comedy of Errors it was very lightly cued. There was no reason for separate calling and blocking scripts. But again, that's a personal decision and one I leave to you.
LAYOUT: To me this is one of the most important aspects of your blocking script. Each production is different, each show has peculiarities unlike another that inform you at the very least about how you should approach your layout for your blocking script. As an example, when I am doing large cast plays I might opt to have two or three floorplans inserted into the left side of my notebook per page of script. Large casts are harder to create pictures for while the director is staging the show. The same with large cast musicals. With smaller cast plays and musicals I might opt for just one floorplan on the left hand side of the notebook with ample room for notes.
I'll increase the margins on the left hand side of the script where I will take most of my blocking. This is explained later in the blocking section.
INFORMATION: The left hand side of the notebook (or the back of the previous page of script) is very important to me and it serves several functions. It's where I'll track my most difficult blocking using the pictures embedded on that side of the notebook. In addition, I like to use the left hand margin of that page for director notes or character references that come out of rehearsals.
1. See page on Adobe Pro.
2. See page on Cloud Based Systems and Tools