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Thank you for supporting the ���Ϻ�����Ƶ Department of Theatre and Film and for serving as a Stage Manager (SM) or Assistant Stage Manager (ASM).  This handbook provides a practical guide to the production process, including rehearsals, technical work, performances, and closing.  It is designed to support students by offering structure, expectations, and resources for managing a production.

This guide is intended to supplement faculty guidance and individual director methodologies, not replace them.  Each production will vary, and SMs are expected to apply the principles in this handbook with flexibility and professionalism.  SMs should also consult the FLPA Student Handbook for broader departmental policies and expectations.  This handbook is intended as a working reference throughout the production process.

There is no single definition of an SM.  The role shifts depending on the production, creative team, and specific needs of the process.  However, at its core, the SM serves as the central point of communication and coordination for a production.

The SM supports the director’s vision while maintaining organization, consistency, and communication across all departments.  Responsibilities include coordinating rehearsals, managing production documentation, facilitating communication between creative and technical teams, and ensuring the smooth execution of performances.

The SM also serves as a leader in maintaining structure and accountability throughout the process, ensuring that information is clearly communicated, decisions are documented, and the production operates ���Ϻ�����Ƶ and efficiently.  The SM is the main conduit of information between the production team and the actors.  SMs work closely with ASMs, delegating tasks and maintaining clear communication to support both rehearsal and performance processes.

SMs are expected to model professionalism at all times.  This includes maintaining a safe and respectful working environment, communicating clearly, and demonstrating reliability, preparedness, and adaptability.  The SM, in conjunction with the director, plays a key role in establishing the rehearsal space's tone and supporting a collaborative, productive process.  Effective SMs demonstrate strong organization, communication, problem-solving ability, and flexibility.  They anticipate needs, remain calm under pressure, and support both the creative and technical aspects of the production process.

All cast and crew are expected to contribute to a professional, respectful, and inclusive working environment.  Theatre is a collaborative process, and all participants share responsibility for maintaining a positive and productive atmosphere.  Disruptive, disrespectful, or discriminatory behavior will not be tolerated.  All participants must follow ���Ϻ�����Ƶ policies regarding conduct, harassment, and nondiscrimination.

Attendance and punctuality are expected at all rehearsals, meetings, and performances unless communicated and approved in advance. Participants should arrive prepared, communicate delays promptly, and respect others' time.  Repeated absences or lateness may impact participation in the production.  All participants are responsible for staying informed by regularly checking official communications, including email, shared documents, schedules, and reports.  The SM serves as the primary point of communication, and participants are expected to follow established communication structures and respond as needed.

Rehearsals and backstage spaces are working environments.  Visitors are not permitted unless approved in advance by the director and SM.  All participants share responsibility for maintaining a safe and respectful environment throughout the production process.

Attendance should be tracked at all rehearsals, whether through a formal sign-in process or direct check-in with the SM.  Attendance information is typically recorded in .  The SM is responsible for maintaining attendance records and overall rehearsal flow.  Rehearsals include scheduled breaks.  Participants are expected to return promptly and be ready to resume work.  Break structure and timing will be communicated by the SM.

Food and drink policies vary by space and production, but water is generally permitted.  Food and other beverages should be limited to designated areas or break times, and all department guidelines must be followed.  Participants are expected to remain engaged and focused during rehearsals, minimize distractions, and follow directions.  The use of phones or personal devices should be limited to rehearsal-related purposes unless otherwise permitted.

Safety is a shared responsibility.  Participants should remain aware of their surroundings, follow all safety guidelines, and report any concerns to the SM immediately.

All cast and crew must sign in at their designated call time prior to each performance.  This confirms readiness and ensures all participants are accounted for.  Attendance is recorded in , and the SM oversees check-in and confirms that all necessary personnel are present.

Cast and crew are responsible for completing all assigned preset tasks prior to the performance.  Once the house is open (typically 30 minutes prior to performances), individuals should remain backstage unless instructed otherwise, keep noise to a minimum, and remain aware of the performance.  Backstage spaces are active working environments, and professional behavior is expected at all times.

Performers are responsible for the care and organization of their costumes and props, including checking items before the performance and returning them after use.  Any issues should be reported to the SM immediately.  All performers are expected to participate in curtain call as directed.  All cast and crew are expected to participate in strike (the dismantling of the production and restoration of the space) following the final performance unless excused.  Strike is an important part of the production process, and the SM supports coordination, organization, and safety during strike.

Access to theatre facilities may include keypad entry, physical keys, or both, depending on the space.  SMs are typically granted access to rehearsal rooms, performance venues, control booths, and production areas.  Access credentials are for production use only and must not be shared.  The SM is responsible for maintaining security and ensuring spaces are opened and secured appropriately.  All access procedures should be confirmed with department staff at the start of the production process.  At the end of rehearsals and performances, the SM is responsible for ensuring all spaces are cleared and secured.  While tasks may be delegated, the SM must verify completion.  This includes confirming all cast and crew have exited, securing doors, and ensuring materials are properly stored.  Certain areas may be delegated to the crew, but should still be checked by the SM.

Detailed closing procedures are outlined in production-specific post-show checklists.  In some cases, individuals may remain in the space with prior approval and coordination with staff or faculty.  SMs should also familiarize themselves with the and applicable emergency procedures prior to rehearsals and performances.

The department utilizes a variety of performance, rehearsal, and support spaces.  SMs should become familiar with each space early, as layout and scale directly impact rehearsal and performance logistics.  Differences in scale may require adjustments in communication, staging, and overall process.

The mainstage (Lee H. Salisbury Theatre) supports larger-scale productions and includes seating for the audience, backstage areas, and technical systems.  Larger productions require increased coordination across departments.

The Lab Theatre is a flexible black-box space, often configured with the audience onstage (facing the fire curtain), though layouts vary by production.  Smaller or more intimate productions frequently take place on the Salisbury Theatre stage utilizing seating risers where the audience is onstage with the performers.  The department often refers to these as “Lab Theatre” productions even though they are actually taking place on the Salisbury stage.   Performances are typically promoted as being in the “Salisbury Lab Theater” to aid with audiences being able to find the location on campus maps.

Rehearsals may occur in multiple locations.  The SM is responsible for confirming locations, preparing spaces, and communicating changes.  When working across multiple spaces, the SM should maintain consistency through spike marks, furniture layouts, and staging references.  Dressing rooms are shared, professional workspaces intended for preparation.  They should remain clean, organized, and focused on costume and makeup use.  Social activity should take place in designated areas, such as the green room.  SMs support maintaining respectful, efficient, and professional use of these spaces.

Theatre facilities include lighting, electrical, and environmental systems that support production work.  While SMs are not responsible for operating these systems, they should understand their general function and know who to contact if issues arise.  Control booths are typically located behind the audience, often elevated.  Worklight panels are commonly located near entrances.  Electrical panels and emergency shutoffs are located throughout the facility and should only be accessed by authorized personnel.

SMs should not attempt to operate, repair, or modify technical systems unless specifically trained and authorized to do so.  Any technical issues or concerns should be reported immediately to the appropriate staff or faculty so they can coordinate with facilities as needed.

In any emergency or serious injury, call 911 immediately.

SMs must be familiar with the locations of safety equipment, including fire extinguishers, fire alarms, first-aid kits, and emergency exits.  These must remain accessible and unobstructed at all times.  Emergency exits must never be blocked, propped open, or altered.

The SM should be prepared to assist in guiding cast, crew, and audience members in an emergency.  Injuries vary in severity.  Minor injuries may be addressed without stopping rehearsal or performance, but should still be documented.  Serious injuries or safety concerns may require stopping rehearsal or performance and must be escalated immediately.

All incidents must be reported to faculty in accordance with ���Ϻ�����Ƶ policies, and required incident reports must be submitted within 24 hours.  SMs should follow the guidance provided by ���Ϻ�����Ƶ Emergency Management and department personnel to ensure proper reporting procedures are followed.  Fire curtain procedures, emergency protocols, and other safety systems should be reviewed with staff prior to technical rehearsals.

The SM helps maintain a safe and organized working environment through consistent use of shared equipment and systems.  The stage and set should be inspected prior to rehearsals and performances.  While cleaning tasks may be delegated, the SM is responsible for ensuring the space is safe and ready for use.  Identifying potential issues early helps prevent damage, delays, or injury.  Props should be stored in clearly labeled systems (e.g., prop tables with designated placements marked with tape or markings) to ensure consistency and prevent loss or damage.  The SM should coordinate with props personnel and ensure items are tracked, reset, and returned appropriately following rehearsals and performances.

Some theatre spaces include unique features that may impact rehearsal and performance:

• The mainstage apron may produce audible sounds (“burping”) when weight shifts.  This is normal, but should be communicated to performers.
• Certain overhead electrics (such as the second electric) may move depending on the rigging.  SMs should confirm positions and ensure safe clearances with technical staff.

SMs should familiarize themselves with space-specific quirks early in the process and communicate relevant information to cast and crew as needed.  Additional quirks or space-specific considerations may be identified during the production process and should be documented and shared as needed.

Clear, consistent communication is essential to a successful production.  The SM is responsible for organizing and distributing information in a way that is accessible, reliable, and consistent.  Email should be used for all official communication, including schedules, reports, and major updates.  Additional tools (shared documents, messaging platforms, etc.) may support communication but should not replace clear, written documentation.  While other communication methods (texting, messaging platforms, etc.) may be used for quick coordination, official information must always be documented and distributed through email.

The SM is responsible for ensuring that important information is clearly communicated and received.  This may include follow-up communication or confirmation, as needed.  A physical callboard serves as a visible reference for essential information within the theatre space.  At a minimum, it should include the current rehearsal schedule.  Additional materials (such as cast lists or announcements) may be included as needed.

The SM is responsible for ensuring that all posted and distributed information is accurate, up-to-date, and clearly presented.  Outdated materials should be removed promptly. When multiple communication platforms are used, the SM should clearly define which platform serves as the primary source of official information.

The initial meeting with the director establishes expectations for the entire production process.  The SM should use this meeting to clarify communication style, rehearsal structure, and production needs.  Topics may include:

• Director’s artistic vision and priorities
• Rehearsal structure and workflow
• Communication preferences and expectations
• Use of rehearsal props, furniture, or technical elements
• Scheduling considerations, including availability, conflicts, and space use

Following this meeting, the SM should begin organizing schedules, materials, and next steps based on the director’s input.  Key decisions and expectations should be documented and shared as needed to ensure clarity moving forward.

The SM supports auditions by handling logistics, facilitating communication, and maintaining an efficient, professional environment.  Auditions may be in-person, self-taped, or hybrid.  Faculty or production leadership typically manages submission systems, but the SM should remain informed and support coordination of scheduling, communication, and participant needs.  Responsibilities may include:

• Coordinating sign-ups and scheduling
• Maintaining participant records
• Ensuring materials are accessible to the production team
• Preparing and managing the audition space
• Supporting clear communication with auditioners, including scheduling details and expectations
• Maintaining a professional, organized, and welcoming environment

The script is the SM’s primary working document throughout the production process.  The SM is responsible for maintaining an accurate, organized, and up-to-date script and developing it into a functional prompt book.  Script work includes:

• Reading and analyzing the script to understand structure and flow
• Tracking blocking, entrances, exits, and transitions
• Recording changes made during rehearsal
• Identifying and organizing cues

The prompt book consolidates all production information, including script notation, cues, and relevant paperwork.  It should be clearly organized, consistently formatted, and easy to navigate during rehearsal and performance.  The SM is responsible for creating a prompt book to run the show accurately and consistently.

Script and prompt book development is ongoing throughout rehearsals, technical processes, and performances.  The SM is responsible for maintaining version control and ensuring that all materials reflect the most current version of the production.  Beginning with the first dress rehearsal, prompt books should be left in the Theatre after rehearsals/performances so that an ASM could run a performance if necessary.  Scripts must be handled in accordance with copyright and licensing requirements.

Scheduling is a collaborative process between the director and the SM.  The director determines the artistic rehearsal plan, while the SM organizes, formats, and communicates schedules.  The SM is responsible for maintaining the working calendar and ensuring that it reflects current information.  The production calendar provides the overall timeline, including rehearsals, meetings, technical rehearsals, performances, and deadlines.  The SM is responsible for:

• Maintaining and distributing rehearsal schedules
• Communicating updates and changes promptly
• Ensuring schedules are accurate, accessible, and up to date

Rehearsal schedules are typically distributed as:

• Weekly schedules (primary working document, posted and shared)
• Daily schedules (short-term updates, often shared via email)

Schedules should clearly indicate call times, locations, rehearsal content, and breaks.  Only necessary participants should be called.  A printed schedule should be posted on the callboard, with digital versions used as a supplement.  Important updates should be clearly communicated and confirmed when necessary.  For performance-specific timing and coordination, see Section 8: Performance Execution.

The SM is responsible for creating and maintaining accurate contact and production team lists.  These documents should include:

• Names and roles of cast and crew
• Contact information (as appropriate and permitted)
• Any relevant communication notes or distribution groups

Information should be clearly organized and regularly updated.  Contact lists should be used to support efficient communication and coordination throughout the production process.  Contact information must be handled professionally and with respect for privacy.  Distribution should be limited to production use, and participants should be informed when their information is shared.  When appropriate, email distribution should use BCC to protect privacy.

Non-student participants will be required to complete departmental participation waivers or other required documentation prior to involvement in productions.  The SM should help support communication and coordination related to these materials and ensure completed forms are returned to the appropriate department office when applicable.

SMs should follow applicable privacy guidelines, including directory information standards, when collecting, storing, and sharing contact information.

Production meetings are director-led and SM-facilitated.  The SM is responsible for organizing, documenting, and supporting the meeting process while helping maintain focus and forward progress.  Responsibilities include:

• Preparing and distributing agendas
• Facilitating discussion and maintaining focus
• Taking and distributing clear notes
• Tracking decisions, action items, and deadlines

Notes should be clear, organized, and actionable, and distributed in a timely manner.  At a minimum, they should include:

• Key discussion points
• Decisions made
• Action items and responsibilities
• Deadlines

Production meetings should be efficient, collaborative, and focused on communication across departments.

The SM works closely with department staff and resources throughout the preproduction process.  Clear communication and early coordination support an efficient rehearsal and production workflow.  Key areas of coordination include:

• Administrative Staff and Theatre Office: Support scheduling, space use, and general production logistics.  The SM should coordinate as needed for access, communication, and organizational needs.
• Box Office and House Management: While the SM does not manage the house, coordination is necessary to align performance timing with front-of-house (FOH) operations.
• Scene Shop and Technical Staff: The SM should maintain awareness of build progress, rehearsal needs (such as furniture or rehearsal props), and communicate any changes or concerns to appropriate staff.  Scene shop spaces should only be used for approved production-related work, and any issues or damage should be reported to staff immediately.
• E-Shop and Technical Workspaces: The same expectations as the scene shop apply to the e-shop and other technical workspaces.  These areas are intended for specific production-related tasks and should not be used as general gathering or workspaces.  Access and use should be coordinated with the appropriate staff.
• Costume Shop: The SM helps coordinate communication between cast and costume staff, including scheduling fittings and supporting follow-up communication when needed.  Early coordination helps ensure costumes are ready for technical rehearsals.

These spaces should be used only for designated tasks, and SMs should help ensure cast and crew do not use them for unrelated or unsupervised activities.  The SM’s role is not to supervise these areas, but to support clear communication, identify needs early, and ensure an efficient flow of information between departments.

The SM is responsible for maintaining production materials that are organized, accurate, and accessible throughout the process.  Digital tools (such as shared drives, documents, and calendars) are commonly used to organize and distribute information.  Files should be:

• Clearly named (including show title or abbreviation and document purpose)
• Consistently formatted
• Easy to locate, update, and share

Production files are typically maintained within a department-managed shared drive system (currently Google Drive).  The SM is responsible for maintaining production materials within the appropriate shared folder structure and ensuring documents remain organized, current, and accessible to the production team as appropriate.

File names should avoid special characters and should be specific enough to clearly identify their contents without being overly long.  The SM should maintain a clear and consistent organizational structure and ensure that all production documents (such as schedules, reports, contact lists, and prompt book materials) are accessible to appropriate members of the production team.  The SM is also responsible for maintaining version control and ensuring that all materials reflect the most current information.  A clear organizational system supports collaboration, reduces confusion, and ensures that accurate information is always available.

Department office spaces and resources support the production process and should be used responsibly and in coordination with staff.  The SM should:

• Coordinate with the administrative assistant when using shared office equipment, including printers and copiers
• Plan ahead for larger print jobs and obtain approval or support as needed
• Use printed materials strategically for information that must be immediately visible or consistently accessible (e.g., sign-in sheets, schedules, signage)

Printed materials are most effective for items that require frequent reference or physical interaction.  However, not all documents need to be printed, and the SM should balance digital and printed materials to avoid unnecessary waste.  The goal is to ensure that information is accessible, clearly communicated, and distributed in the format most appropriate to the production's needs.

The SM workstation serves as the central hub for managing rehearsals, communication, and production documentation.  Its setup will vary depending on the production phase and location (rehearsal room, backstage, or control booth), but its purpose remains the same: to support organization, communication, and efficient workflow.  A functional workstation allows the SM to:

• Access the prompt book and production paperwork
• Track rehearsal and performance progress
• Communicate with cast, crew, and technical staff
• Monitor timing, cues, and overall production flow

The SM is responsible for maintaining a clean, organized, and ready workspace throughout the production process.  Materials should be accessible, up to date, and arranged for efficient use.  The workstation should be reset and prepared prior to each rehearsal and performance.  Shared equipment should be returned to its proper location after use.

SMs should maintain a core set of supplies to support rehearsals, technical processes, and performances.  Specific needs will vary by production, but preparation and consistency are key.  Common supplies include:

• Prompt book and production paperwork
• Writing tools (pens, pencils, highlighters, markers)
• Spike or marking tape
• Stopwatch or timing device
• Flashlight or work light
• Communication devices (as provided)
• Scripts or sides for rehearsal
• Basic office supplies (clips, notes, etc.)
• Access to a digital device for document management

Spike tape, pencils, notepads and other expendables can be paid for or supplied by the Department’s production budget.  Coordinate with the Office Admin or Scene Shop Supervisor for assistance in getting these supplies.

Additional items may be included based on production needs.  SMs should adapt their kit as needed and ensure materials remain organized, accessible, and easily transferable between spaces.

The first rehearsal marks the official beginning of the rehearsal process and sets the tone for the entire production.  It is an opportunity to establish expectations, introduce the production team, and begin building a collaborative and professional working environment.  The SM plays a key role in organizing and facilitating this initial meeting.  The SM supports this process by:

• Preparing the rehearsal space and materials
• Organizing scripts, schedules, and contact information
• Managing sign-in and attendance
• Supporting the director during introductions and announcements
• Establishing communication expectations and ensuring all participants understand how information will be shared

Depending on the production, the first rehearsal may include introductions, a review of expectations, the distribution of materials, and a read-through.

Production paperwork supports organization, communication, and rehearsal planning.  The SM is responsible for maintaining accurate, organized, and accessible documentation throughout the production process.  Common documents include cast lists, contact and bio forms (including headshots), scene breakdowns, and running orders.  Additional materials such as rehearsal schedules, reports, and tracking documents may also be developed and maintained as part of this system.

These materials are typically maintained digitally using shared platforms.  The SM should ensure documents are clearly organized, consistently formatted, and updated as needed to avoid confusion about versions.  All documents should be accessible to appropriate members of the production team and reflect the most current information.

are a primary communication tool between the SM and the production team.  They document rehearsal progress and communicate updates, needs, and action items.  Reports are typically distributed to the full production team, including faculty, staff, and designers, to support transparency, coordination, and timely follow-up.  Effective rehearsal reports should:

• Be clear, concise, and professional
• Highlight key updates and progress
• Identify questions, action items, and responsible parties
• Be distributed promptly after rehearsal

SMs should use discretion when documenting sensitive situations.  Not all information is appropriate for full-group distribution; private concerns should be communicated through appropriate channels.  See Section 8.2 Performance Reports and Notes for performance reporting practices during the run.

The SM is responsible for maintaining structure, organization, and efficiency during rehearsals.  This includes actively managing the flow of rehearsal and supporting a productive working environment.  Responsibilities include:

• Managing time and pacing
• Facilitating transitions between activities
• Supporting the director and production team
• Maintaining a focused and professional environment
• Communicating updates and adjustments clearly to cast and crew

Rehearsal checklists may be used to track tasks before, during, and after rehearsal, helping ensure consistency and preventing oversights.

The SM actively supports rehearsal execution by maintaining organization, tracking progress, and documenting the process to support consistency and repeatability.  Key responsibilities include:

• Recording blocking clearly and consistently (generally drawn on single-sided script pages from a top-down perspective)
• Providing prompts when appropriate to support rehearsal flow
• Maintaining rehearsal discipline and minimizing disruptions
• Tracking the timing of scenes and the overall run time

Spiking is the responsibility of the SM.  Spike marks should be based on ground plans and maintained consistently across rehearsal and performance spaces to support safe and accurate staging.

The SM supports costume coordination by facilitating communication between the costume shop and performers.  The costume shop typically manages scheduling and fittings, while the SM supports communication, coordination, and follow-up.  Responsibilities include:

• Coordinating scheduling and communication with the costume shop
• Communicating expectations to actors
• Tracking completion of fittings
• Following up on missed or delayed fittings and escalating concerns when needed

In a typical process:

• Measurements occur early in rehearsal
• Fittings begin within the first few weeks
• Costumes should be ready for technical rehearsals

Actors are responsible for attending fittings and following costume guidelines.  The SM ensures communication remains clear, supports follow-up when needed, and helps keep the process on track.

Technical rehearsals integrate performance and design elements into a cohesive production.  While each production may vary, the process generally follows a progression:

• Paper Tech: A planning session with the SM, director, and designers to walk through the script and establish preliminary cue placement, transitions, and technical needs.  This is where the SM begins organizing cue structure and identifying potential challenges before entering the space.
• Dry Tech: A rehearsal focused on running technical elements without actors present.  Designers and crew test cues, refine timing, and troubleshoot issues.  This allows the team to resolve problems efficiently without using valuable actor rehearsal time.
• Cue-to-Cue (Q2Q): A rehearsal that moves from one technical moment to the next, skipping non-technical sections.  Actors are present as needed.  The SM focuses on refining cue timing, confirming transitions, and ensuring coordination across departments.
• Wet Tech: A full integration of actors and technical elements.  This phase introduces performance timing, spacing, and safety considerations.  The SM monitors how cues interact with live performance and adjusts timing as needed.  While an ideal Wet Tech is essentially a run of the show, this is the time to pause when necessary to adjust cues or performer placement.
• Dress Rehearsals: Full runs of the production with costumes, makeup, and all technical elements in place.  Some dress rehearsals may include invited audiences and should be run as full performances when possible; however, the rehearsal process remains active, and pauses may still occur if necessary.

Throughout this process, the SM coordinates communication, tracks changes, maintains documentation, and prepares materials needed to call the show.  Each phase builds on the previous one, moving from planning to execution, and should be approached as a continuous process rather than separate events.

The SM is responsible for organizing and maintaining all technical documentation.  This includes cue plots, tracking paperwork, and the calling script (prompt book), which together support consistent, repeatable performance.  Cue plots are typically structured in a table format (see example cue plot from ) and include:

• Cue number or label
• Script reference (page, line, or timing)
• Description and timing
• Notes or warnings

While designers will provide cue information, the SM must adapt all materials into a clear, consistent, and callable format.  The SM is responsible for ensuring that all cues are accurate, clearly communicated, and executable during performance.  To be clear: Cue Plots (typically spreadsheets) are supplied by the designers, and the SM should translate those into placement in their prompt book.  Effective documentation should be:

• Clearly labeled and consistently formatted
• Organized by department or function
• Easy to read, update, and share
• Structured in a way that supports real-time calling

The calling script (prompt book) is the SM’s primary working document and must be maintained throughout rehearsals and performances.  The SM should develop cue documentation in a format they can call confidently and consistently, making adjustments as needed to ensure clarity, timing, and reliability.

The SM works with ASMs and crew to ensure accurate and consistent execution of the production.  The SM is responsible for:

• Establishing clear expectations
• Maintaining communication across all departments
• Ensuring all participants understand their roles, responsibilities, and timing
• Translating production needs into clear, repeatable instructions

ASMs support coordination by assisting with communication, tracking backstage activity, and helping maintain organization throughout rehearsals and performances.  While ASMs may take on leadership responsibilities, the process remains collaborative and guided by the SM.  All crew members are expected to:

• Arrive prepared and on time
• Execute cues and responsibilities accurately
• Maintain focus and professionalism
• Follow established procedures and communication structures

All work is guided by the cue structure of the show.  The cue plot serves as the shared reference point for timing, coordination, and execution.  As a guiding principle, verbal instructions must be documented to ensure clarity, consistency, and accountability.

Pre-show and post-show checklists are essential tools for ensuring that all necessary tasks are completed consistently before and after each performance.  While there is no single standardized checklist used across all productions, most follow a similar structure and are adapted to the needs of each show, space, and technical setup.

Pre-show checklists typically include:

• Preparing the stage and performance spaces
• Checking props, costumes, and technical elements Powering on and testing equipment
• Confirming communication systems are functioning
• Ensuring all cast and crew are present and ready

Post-show checklists typically include:

• Resetting props and performance spaces
• Powering down equipment
• Securing theatre spaces
• Completing cleaning or closing procedures

The SM is responsible for ensuring that all checklists are created, maintained, and followed consistently.  Tasks may be delegated to ASMs or crew, but the SM must verify completion.  Presets are a critical part of this process.  While often assigned to crew, the SM remains responsible for ensuring all presets are completed accurately and consistently before each performance.  Checklists should be:

• Clear and organized
• Specific to the production
• Designed to support consistency and repeatable performance conditions

Sample pre-show and post-show checklists are available from the department ( and ).  These should be used as guides and adapted as needed.

document each performance and communicate relevant updates to the production team.  These reports are typically distributed to the full production team, including faculty, staff, and designers.  Reports should include:

• Performance date and time
• Attendance or audience notes (from house management/admin)
• Performance consistency notes
• Technical issues (lighting, sound, set, props, costumes, etc.)
• Incidents, safety concerns, or unusual events

Performance reports should be clear, concise, and distributed promptly following each performance.  The purpose of the performance report is to maintain clear, accurate communication and support consistency throughout the run.  Reports help identify patterns, track issues, and ensure that the production remains consistent and repeatable across performances.

While reports are broadly distributed, discretion is essential.  Not all information is appropriate for full-group distribution.  Sensitive or individual concerns should be communicated privately through appropriate channels rather than included in performance reports.

The SM works closely with the house manager and box office to coordinate the start and flow of each performance.  This ensures alignment between backstage and FOH operations and supports both audience experience and production safety.

 

The SM is responsible for preparing cast and crew for rehearsal and performance start times through consistent time calls.  The purpose of time calls is to ensure that all performers are ready and in position, allowing the production to begin efficiently and without delay.

Common calls include:

• 60 minutes to places
• 30 minutes
• 15 minutes
• 5 minutes
• Places

“Places” indicates that performers are fully ready and in their assigned starting positions.  Time calls should be:

• Clear and consistent
• Delivered through reliable communication methods
• Supported by direct check-ins when needed

The SM should confirm readiness across departments and adjust the timing if necessary to ensure a smooth, coordinated start.

Calling cues is one of the SM’s primary responsibilities during technical rehearsals and performances.  The SM coordinates all technical elements in real time to maintain consistency, timing, and safety.

Cues are typically called using a standard structure:

• Warning (optional) [cue number]
• Standby [cue number]
• [Cue number] go

The timing of the “go” is critical and should be called at the precise moment required to achieve the intended effect onstage.  Depending on how close cues are together, they can also be grouped.  For example: “Warning cues 55, 56, and 57; these are tight” at least one page prior, followed by “Standby cues 55, 56, and 57; these are tight” approximately half a page prior, followed by “Cues 55, 56, and 57…go, go, go.”

Warnings are optional and are generally used when cues (for a specific area) are spread apart.  For example, there may be many light cues (so the SM and board operator are in constant communication) but there may be long pauses between set changes (flys for example).  In this case, it makes sense to warn the deckhand since their last cue may have been literally an hour ago.  Running crew members should respond to the SM to acknowledge their understanding.  Example: “Warned” or  “Standing by”.  In the case of a subtle or long-running cue; they may also say “complete” to indicate the cue occurred.

The SM must:

• Call cues precisely based on action, dialogue, or timing
• Maintain consistency across rehearsals and performances
• Communicate clearly and concisely
• Follow the prompt book and established cue structure

The prompt book must be accurate, organized, and easy to follow.  The SM should be calling from documentation they understand and have prepared, ensuring cues are executed consistently and reliably.

During performances, the SM maintains control of the production and ensures consistency from night to night.  Responsibilities include:

• Calling cues accurately and consistently
• Coordinating backstage operations
• Monitoring timing and flow
• Responding to unexpected issues

Communication during performances (such as over a headset) must remain clear, concise, and professional.  Headset communication may be audible in backstage or monitor areas, so unnecessary chatter and commentary on performance should be avoided.  The SM should:

• Respond calmly to issues
• Prioritize safety and continuity
• Communicate adjustments clearly
• Document issues for follow-up

The decision to pause or stop a performance is made by the SM, with safety as the primary consideration and in coordination with faculty and staff when possible.  After each performance, the SM ensures:

• Completion of post-show tasks (reset, cleanup, etc.)
• Communication of notes or updates
• Documentation and dissemination of any issues

After opening, the SM is responsible for maintaining the consistency, safety, and quality of the production throughout the run.  This includes:

• Giving performance notes
• Running pick-up or brush-up rehearsals as needed
• Monitoring pacing, timing, and technical consistency
• Addressing issues that arise during performances

Performance reports and ongoing observation inform this process, helping identify patterns, inconsistencies, or areas that require adjustment.  In professional settings, the SM typically gives notes after opening.  In educational settings, directors or faculty may also provide notes.  The SM is responsible for ensuring that communication remains consistent and that notes are clearly documented and understood.

Pick-up rehearsals, speed-throughs, and notes sessions are tools used to maintain the production and should be scheduled as needed.  The SM should ensure feedback is clear, constructive, and supports both the integrity of the production and the learning environment.  Documentation practices referenced in Section 6.3 Rehearsal Reports and Section 8.2 Performance Reports and Notes support this process.  Consistency in performance execution depends on preparation, communication, and accurate documentation across all stages of the production process.

Strike is the process of dismantling the production and restoring backstage and performance spaces.  Effective planning ensures that strike is completed efficiently, ���Ϻ�����Ƶ, and in coordination with all departments.

The SM supports strike in collaboration with technical staff and production leadership.  Technical staff typically oversee strike execution, while the SM supports communication, organization, and coordination.  Responsibilities may include:

• Coordinating with departments (scenic, lighting, sound, costumes, etc.)
• Communicating strike expectations and procedures to cast and crew
• Assisting with scheduling (typically following the final performance)
• Preparing or distributing strike checklists if needed
• Supporting a clear assignment of responsibilities

Strike plans (see example strike checklist from ) should:

• Assign tasks by department or role
• Ensure appropriate supervision for complex or hazardous work
• Include clear expectations for the cleanup and restoration of spaces

All cast and crew are expected to participate in strike unless excused.  Efforts to contain cast and running crew expectations to 2-hours (post performance) will be made.  The SM should help ensure expectations are clearly communicated in advance.  Safety is the top priority during strike.  All participants should:

• Be informed of safety expectations
• Use proper tools and equipment
• Follow instructions from qualified personnel

Advance planning and clear communication help ensure that strike is efficient, organized, and safe.

Post-production evaluation (often referred to as a “post-mortem”) provides an opportunity for the production team to reflect on the process and outcomes of the production.  These discussions support learning, growth, and improved practices for future productions.

Post-mortem discussions may include:

• Overall success of the production
• The rehearsal process, workflow, and scheduling
• Communication and collaboration between departments
• Technical execution and design elements
• Performance consistency during the run
• Areas for improvement

The SM may:

• Help organize or facilitate the discussion
• Provide insight based on rehearsal and performance documentation
• Identify patterns or recurring challenges
• Contribute to collaborative reflection across departments

Discussions should remain constructive, specific, and focused on growth.  When appropriate, the SM may document key takeaways for future reference.  This supports continuity, improved processes, and the retention of institutional knowledge within the department.

Many students within the Film and Performing Arts (FLPA) program will complete a thesis project or develop a professional portfolio as part of their academic experience.  These projects provide an opportunity to apply and document skills developed through coursework and production work.  From a stage management perspective, portfolio materials may include:

• Prompt books
• Rehearsal reports
• Cue plots
• Production documentation

These materials demonstrate organization, communication, leadership, and the ability to manage a production from rehearsal through performance.  Specific requirements for thesis projects and portfolio development are outlined in the FLPA Student Handbook and should be consulted for the most current and accurate information.

Some productions require additional coordination due to increased technical, musical, or logistical complexity.  These may include musicals, movement-heavy productions, or productions with specialized technical elements.  SMs working on these productions should be prepared for expanded coordination and increased detail in planning and execution.  Additional considerations may include:

• Coordination with music directors, choreographers, and additional creative staff
• Integration of live or recorded music elements
• Increased cue density and technical complexity
• Use of microphones, monitors, and other audio systems

The SM may also need to:

• Manage multiple rehearsal formats (music, choreography, staging)
• Coordinate transitions between rehearsal types
• Track musical timing and cueing alongside dialogue
• Support clear communication across departments with overlapping needs

These productions often require heightened attention to timing, communication, and safety.  Strong organization and close collaboration with both creative and technical teams are essential.

Student-led productions, including lab theatre, directing projects, and independent work, may operate with different structures and resources than mainstage productions.  SMs should be prepared for increased adaptability and collaboration in these environments.

Student productions may:

• Have smaller teams or combined roles
• Operate with limited technical resources
• Follow modified rehearsal and production timelines

In these settings, the SM may:

• Take on expanded responsibilities across multiple areas
• Support coordination between student leaders and participants
• Help establish structure, workflow, and communication practices
• Clarify expectations and maintain organization across the process

While responsibilities may expand, the SM should continue to prioritize organization, communication, and safe working practices.  These productions are often learning environments and should remain collaborative, flexible, and supportive.

SMs play an important role in maintaining safety and responding to unexpected situations during rehearsals and performances.  SMs should familiarize themselves with and applicable university emergency procedures prior to rehearsals and performances.

For immediate or life-threatening emergencies, call 911 first.

All incidents involving injury, safety concerns, or disruptions to the production process must be:

• Documented
• Reported to the appropriate faculty and staff
• Submitted through ���Ϻ�����Ƶ reporting procedures within 24 hours

Additional guidance, reporting procedures, and safety resources are available through ���Ϻ�����Ƶ Emergency Management and Safety Services.

In the event of an emergency, the SM should:

• Remain calm and assess the situation
• Pause or stop rehearsal/performance if necessary
• Communicate clearly with cast, crew, and staff
• Contact appropriate emergency services or university personnel

Emergencies may include:

• Medical incidents Fire or building hazards
• Safety-related technical failures
• Other unexpected situations affecting participants or the audience

Safety must always take priority over continuing the production.

The SM should maintain access to current department contact information to support communication and coordination throughout the production process.  Contact information should be verified at the start of each production and kept accessible as needed.  Emergency contact information should be readily available and, when appropriate, shared with the production team.

For emergencies:

• Call 911 for immediate or life-threatening situations
• ���Ϻ�����Ƶ Police Dispatch: (907) 474-7721

Additional emergency procedures and resources are available through ���Ϻ�����Ƶ Emergency Management.

Key contacts include:

• Theatre and Film faculty Technical directors and shop supervisors
• Costume shop staff
• Box office and house management
• Department administrative staff
• Facilities or maintenance personnel

Contact information can typically be found through:

• Official department websites or directories
• Production contact sheets
• Department communications or shared documents

Contact lists should be used for production-related communication, including coordination, reporting, and updates.  The SM should maintain professional communication practices and ensure that contact information is used appropriately.

SMs rely on a variety of documents to organize and communicate throughout the production process.  Standardized templates support consistency, clarity, and efficiency.  Common templates include:

• Contact sheets
• Production calendars and schedules
• Sign-in sheets (physical or digital)

Templates and production documents may be maintained and shared digitally using department-managed platforms such as Google Drive or other cloud-based systems.  Digital organization should prioritize clarity, accessibility, and version control.  SMs may adapt templates to meet production-specific needs, but consistency across documents should be maintained.  Well-organized templates support clear communication, reduce errors, and provide useful reference materials for future productions.

SMs may reference both internal and external resources to support production needs.  These may include:

• Local vendors for materials or rentals
• Printing and office supply services
• Audio, lighting, or technical equipment providers
• Campus or community resources

When working with vendors or external resources, the SM should:

• Coordinate through the appropriate department staff when required
• Follow department policies for purchasing or rentals
• Maintain clear and professional communication

The SM should not independently commit to purchases or rentals without appropriate approval.  Departments may maintain shared resource lists that can be updated and passed on to future production teams.  Keeping resource information current supports efficiency, consistency, and continuity across productions.

This handbook is a living document and may be updated to reflect changes in departmental practices, facilities, and policies.  Students and faculty are encouraged to reference the most current version and provide feedback based on their production experiences.  Feedback may be used to improve clarity, update procedures, and support future revisions of the handbook.

1. ASM (Assistant Stage Manager): Supports the SM by assisting with rehearsals, backstage coordination, and communication during performances.
2. Audition: A process in which performers present prepared material to be considered for casting in a production.
3. Blocking: The planned movement and positioning of actors on stage.
4. Booth: The designated area where technical elements (lighting, sound, projections) are controlled during a production.
5. Burping Apron: A term used to describe the popping or creaking sounds made by the mainstage apron when weight shifts; this is normal and not usually a cause for concern.
6. Callback: A follow-up audition in which selected performers are asked to return for further evaluation.
7. Callboard: A physical or digital location where production information is posted and shared.
8. Call Time: The designated time at which cast or crew are required to arrive for rehearsal or performance.
9. Cue: A signal for an action to occur, such as a lighting change, sound effect, or actor entrance.
10. Cue Plot: A document or chart that organizes all technical cues (lighting, sound, projections, etc.) with their timing, placement, and descriptions for use by the SM.
11. Cue-to-Cue (Q2Q): A rehearsal focused on running technical cues in sequence, skipping portions of dialogue or action between cues.
12. Dress Rehearsal: A full run of the production with costumes, technical elements, and performance conditions in place.
13. Dry Tech: A technical rehearsal involving crew only, without actors, to practice cues and transitions.
14. Ensemble: A group of performers who work collaboratively without a single featured lead.
15. Fly System (or “Flies”): A rigging system of ropes, pulleys, and counterweights used to ���Ϻ�����Ƶ raise and lower scenery, lights, and curtains in the fly loft above the stage.
16. Front of House (FOH): Areas of the theatre accessible to the audience, including the lobby and seating areas.
17. Ghost Light: A single light left on stage when the theatre is unoccupied for safety and tradition.
18. Green Room: A space where performers wait before or between appearances on stage.
19. House Manager: The person responsible for managing the audience experience and front-of-house operations.
20. Lab Theatre: A flexible performance space often used for student-led work, experimental productions, or smaller-scale performances.
21. Mainstage Production: A fully produced departmental production, typically involving faculty oversight and full technical support.
22. Marking: Performing at a reduced level during rehearsal to conserve energy or prevent injury.
23. Paper Tech: A meeting in which the SM and design team review and organize technical cues prior to entering the theatre.
24. Post-Mortem: A meeting after the final performance to discuss how the process went.
25. Preset: The arrangement of props, set pieces, and equipment before a rehearsal or performance begins.
26. Prompt Book: The SM’s comprehensive script containing blocking, cues, and production notes.
27. Quick Change: A rapid costume change that occurs during a performance, often backstage.
28. Rehearsal Report: A document created by the SM summarizing rehearsal activities, notes, and updates for the production team.
29. Run Crew: Crew members responsible for executing backstage tasks during a performance, such as moving scenery, managing props, or assisting with quick changes.
30. Run-through: A rehearsal in which a portion or the entirety of the production is performed continuously.
31. Sign-In Sheet: A record used to track attendance for rehearsals and performances.
32. Spike Mark: A piece of tape or marking used to indicate the placement of set pieces or actors on stage.
33. Strike: The process of dismantling the set and restoring the performance space after the final performance.
34. Tech (Technical Rehearsal): A rehearsal focused on integrating technical elements such as lighting, sound, and scenery.
35. Tracking: The process of monitoring the location, use, and movement of costumes or props throughout a rehearsal or performance.
36. Wet Tech: A technical rehearsal that includes both performers and technical elements.

This appendix provides commonly used verbal phrases and calls in theatre production.  These are typically used during rehearsals and performances to support communication, coordination, and cue execution.

1. “C���𲹰�”: Indicates that a space, pathway, or action is free of obstruction and safe to proceed.
2. “C�dz������ٱ�”: A response given to the SM by running crew members to indicate a cue occurred in the case of a subtle or long-running cue.
3. “G��”: The command given by the SM to execute a cue. This term should only be used by the SM when calling cues.
4. “H�DZ���”: A temporary pause in rehearsal or performance, typically called by the SM to address an issue.
5. “House Closed”: The point at which the theatre is no longer admitting audience members in preparation for the start or continuation of the performance.
6. “House Open”: The point at which the audience is allowed to enter the theatre.
7. “On Book”: Indicates that actors may call for lines, and the SM (or ASM) is actively following the script to assist.
8. “P���������”: A call indicating that performers should move to their starting positions in preparation for the beginning of a scene or performance.
9. ��������”: A direction to return the stage, props, or performers to a previous position in order to repeat a section.
10. ��ٱ辱���”: A tag, label, or tape mark that indicates placement for repeated positionings; most typical for furniture and set pieces that may move during a production, and may include fly control lines.
11. ��ٳٲ��Ի����”: A warning that a cue or sequence of cues is approaching.  Performers or crew should prepare to execute the upcoming action.
12. “Standing by”: Similar to “Warned”, this is a response given to the SM by running crew members to acknowledge their understanding when a cue is called during the show.
13. “Thank You, [Department]”: A common phrase used by the SM after receiving confirmation from a department (e.g., “Thank you, lights”) to acknowledge communication and maintain clarity.
14. “W�����Ա��”: Similar to “Standing by”, this is a response given to the SM by running crew members to acknowledge their understanding when a cue is called during the show.
15. “W�����Ծ��Բ�”: An optional early alert that a cue is approaching, often used before a standby in complex sequences.