At a start of a show that does not produce a script straight away, it is difficult to understand how a Stage Manager should do their job. After all the technical aspects of the show are not really set in stone during this process.
“It is harder to prepare technically for the devising process… the style of theatre associated with the company is important. They may have particular methods, using projection or live sound… These will all have technical implications that the stage manager can prepare for.”
(Maccoy, 2004, 77).
For our performance in particular, we knew that we were interested in creating a very visual show, with very simple but time consuming set design. Because of this I decided to make sure that the main parts of our set design were sourced as quickly as possible, asking for the scaffolding and rostra as soon as we knew we wanted them. This involved sourcing set through technicians from the warehouse, but it also meant that our set design did not get left behind as an afterthought, instead it became another performer in our show, speaking for itself, asking questions and providing answers.
As a stage manager, being a part of the devising process may be foreign to many, as they are used to dealing with the back stage details of the performance. However in a devised piece, where the script is written of workshops, discussions and rehearsals, the stage manager is quite often expected to be a part of this process.
“Stage management may be expected to make an active and creative contribution to the truly democratic collaborative process…”
(Maccoy, 2004, 58).
For example in our situation, I was acting as a Stage Manager and an actor, with a writer/director on board as well. The process began with a 10 minute script which our Writer/Director Samantha Thomas wrote as part of her Off the page module, titled: WOMENSwear. This process meant that before we even started devising, I had the opportunity to read the script and get to understand Sam’s writing style, having seen the performance before, I was aware that the original script was performed by a cast of all boys, so the majority of the collaboration process would be centered on the shift from an all male cast to an all female cast. As a stage manager, I was still involved creatively with the performance. We had discussions about our own experiences and even began to write short scenes each that were personal to us.
As the process went along, there became a shift from a devising process, to a more scripted process, the roles of the individual became more defined, and I was able to start my work writing the book, writing in blocking and starting to draw together cue sheets and technical ideas.
As with any process that is working on a new script, there will most definitely be script changes, even the smallest change to the script can change the whole order of lighting cues or sound cues, and it is imperative that the stage manager should be prepared enough to be able to deal with this.
“Whenever a change is made, the new page or pages of the script must be distributed to all members of the cast and crew affected by the change…Even a small cut or addition in the script could change the prop, costume, lighting or sound requirements of a production.”
(Ionazzi, 1992, 45)
In order to make our rehearsals run smoothly, I ensure that I had a printer on standby to print any spare pages that needed changing. I also made sure that any technical changes were made quickly and correctly
Work Cited
Ionazzi, D. (1992) The stage management handbook. Ohio: F and W Publications INC.
Maccoy, P. (2004,) Essentials of Stage Management. London: Meuthen Drama.