Stage Management Theory as a Guide to Practice [2 ed.] 1032323604, 9781032323602

Citation preview

Stage Management Theory as a Guide to Practice Stage Management Theory as a Guide to Practice, Second Edition offers theory and methodology for developing a unique and inclusive stage management style, preparing stage managers to develop an adaptive approach for the vast and varied scope of the production process, forge their own path, and respond to the present moment with care and creativity. This book provides tactile strategies, enabling stage managers to navigate different groups of collaborators, venues, and projects. Experiential stories based on extensive experience with world-renowned artists exemplify the practices and provide frameworks for self-reflection, synthesis, and engagement with theory-guided practice. This book empowers stage managers to guide any collaborative project to fruition by incorporating the “How You” with the “How To.” This second edition has been expanded, and includes new experiential stories and a new chapter focused on inclusive processes that can be applied from pre­ production through closing, as well as the full text of the HowlRound Theatre essay We Commit to Anti-Racist Stage Management Education. Exploring topics such as group dynamics, ethics, culture, and strategic communication, Stage Management Theory as a Guide to Practice  is an essential tool for advanced stage management students, educators, and professionals. Lisa Porter is a Professor of Theatre and Dance at the University of California, San Diego, USA, where she has taught stage management since 2005. Lisa has developed curriculum related to creativity, neuroscience, disability, and inclusion, and has stage managed theater, dance, music, and events on six continents. Narda E. Alcorn is a Professor and Chair of the Stage Management Program at David Geffen School of Drama at Yale University, USA. She has worked on Broadway, Off-Broadway, regionally, and internationally and has been Head of Stage Management for New York University, DePaul University, and the State University of New York at Purchase.

Stage Management Theory as a Guide to Practice Cultivating a Creative Approach Second Edition

Lisa Porter and Narda E. Alcorn

Designed cover image: © Emily Mills Second edition published 2024 by Routledge 605 Third Avenue, New York, NY 10158 and by Routledge 4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2024 Lisa Porter and Narda E. Alcorn The right of Lisa Porter and Narda E. Alcorn to be identified as authors of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks and are used only for identification and explanation without intent to infringe. First edition published by Routledge 2019 Library of Congress Cataloging-in-Publication Data Names: Porter, Lisa, author. | Alcorn, Narda E., author. Title: Stage management theory as a guide to practice : cultivating a creative approach / Lisa Porter and Narda E. Alcorn. Description: Second edition. | New York, NY : Routledge, 2024. | Includes index. Identifiers: LCCN 2023027500 (print) | LCCN 2023027501 (ebook) | ISBN 9781032323619 (hardback) | ISBN 9781032323602 (paperback) | ISBN 9781003314639 (ebook) Subjects: LCSH: Stage management.

Classification: LCC PN2085 .P67 2024 (print) | LCC PN2085 (ebook) |

DDC 792.02/32—dc23/eng/20230912 LC record available at https://lccn.loc.gov/2023027500 LC ebook record available at https://lccn.loc.gov/2023027501 ISBN: 978-1-032-32361-9 (hbk) ISBN: 978-1-032-32360-2 (pbk) ISBN: 978-1-003-31463-9 (ebk) DOI: 10.4324/9781003314639 Typeset in Stempel Garamond LT Pro by Apex CoVantage, LLC

To our students, past, present, and future.

Contents

About the Authors Acknowledgments Foreword to the First Edition Introduction to the Second Edition

viii

x

xiii

xvi

1. 2. 3. 4. 5. 6. 7. 8. 9.

1

9

28

41

66

81

98

118

136

Theory Practice Environment Communication Orchestration Culture Ethics Purpose Power

We Commit to Anti-Racist Stage

Management Education Recommended Resources Index

156

165

168

vii

About the Authors

Lisa Porter is a Professor of Theatre and Dance at the University of California, San Diego, USA, where she has taught since 2005. She teaches graduate and undergraduate Stage Management and has developed courses related to creativity, neuroscience, disability, and performance. Lisa has taught in the MFA Stage Management program at Yale School of Drama, and has led international classes in Singapore, Taiwan, and China. With her co-author, Narda E. Alcorn, she has taught classes and led workshops on anti-racism and anti-oppression practices for stage managers. She is a UCSD Changemaker Fellow, with a focus on neurodiversity, inclusion, and belonging. Working in diverse venues on six continents, Lisa’s career has included international projects with Yo-Yo Ma, Mikhail Baryshnikov, Laurie Anderson, Anne Bogart, Hal Hartley, Silkroad Ensemble, White Oak Dance Project, and Robert Wilson. She has collaborated extensively on multiple intercultural productions with Singaporean director Ong Keng Sen and TheatreWorks Singapore. Her New York and Regional credits include productions with Christopher Ashley, Charles Busch, Jonathan Demme, Richard Foreman, Doug Hughes, Tina Landau, Kenny Leon, Suzan-Lori Parks, Darko Tresnjak, and Mark WingDavey. She has produced and stage managed non-profit and corporate events since 1996.

viii

Narda E. Alcorn is a Professor and Chair of the Stage Management Program at David Geffen School of Drama at Yale University, USA. She has worked on Broadway, Off-Broadway, regionally, and internationally and has been Head of Stage Management for New York University, DePaul University, and the State University of New York at Purchase. With Lisa Porter, Narda co-teaches classes and workshops about anti-racist and anti-oppressive practices for stage managers. She also consults as an equity, diversity, and inclusion facilitator for Off-Broadway and Broadway productions. Narda has had significant collaborations with the directors Saheem Ali, Kenny Leon, Bartlett Sher, and George C. Wolfe. She premiered four of Pulitzer Prize­ winning playwright August Wilson’s Century Cycle plays, and stage managed two Broadway revivals of his work. Her New York and Regional credits include productions with Jeremy Pope, Denzel Washington, Viola Davis, Billy Crystal, Kevin Kline, Annette Bening, Phylicia Rashad, Audra McDonald, David Schwimmer, and Richard Foreman. Narda was a long-time stage manager on the Broadway production of The Lion King, and she has collaborated with the celebrated MacArthur Fellows, composer George E. Lewis and playwright Tarell Alvin McCraney.

AbouT ThE AuThorS

ix

Acknowledgments

Thank you to the following people who helped us shape the ideas in this book: Anders Wright, our main editor, and most ardent cham­ pion. We are incredibly grateful that you encouraged us to write this book and then joined us for the jour­ ney. You have gone above and beyond to shape this work with thoughtful guidance, clarity, and support. Our additional editors and readers: Laurie Kincman, Tiffany Fox, Kelly Glasow Fenack, Mandy Nuss­ baum, Lora Powell. Our teachers: Karen Carpenter, Len Mozzi, Mickey White, Craig Slaight, Scott Williams, Malcolm Ewen, Frank Wukitsch. Our illustrators and former students for their beauti­ ful drawings: Emily Mills, cover and beginning of chapter artwork, and Tyler Larson, end of chapter artwork. Mary Hunter and Steven Adler, for growing the strong MFA programs at Yale and UC San Diego that we now run. James Bundy, our classmate, early collaborator, and fervent stage management advocate.

x

Acknowledgments from Lisa Porter Thank you to Douglas Pagliotti for taking a risk on a tenacious 18-year-old and offering me an internship at the Old Globe Theatre in San Diego. Heartfelt thanks to my first stage management team at the Old Globe, Diane DiVita and Robert Drake. Thank you to my faculty colleagues at UC San Diego, especially Patti Saraniero for developing and teaching the theory series, as well as Charles Means and Leila Knox, for wisely guiding students to fruitful careers. Lora Pow­ ell, I’m delighted to be running the stage management area with you, and I love what we are growing together. Matthew Herbst, Kim Rubinstein, and Shahrokh Yade­ gari, co-teaching with each of you has transformed me into a more inspired teacher. To my co-author, Narda E. Alcorn, for taking on such a momentous project. I  am grateful for your patience, attention to detail, and for being my friend and mentor for decades. Anders Wright, thank you for your wise edits, incred­ ible partnership, and being by my side through thick and thin. Daisy Wright, your creativity and courage inspire me.

ACkNowLEdGMENTS

xi

Acknowledgments from Narda E. Alcorn Thank you to my colleagues from SUNY Purchase, DePaul, NYU, Yale, and The Lion King on Broadway. Much of my preparation for writing this book was the dynamic collaboration I  had with each of you. Marion Friedman Young and Ben Pfister, you are both so dear to me, and I  am enormously grateful for your encour­ agement and thoughtful counsel. To my co-author, Lisa Porter, thank you for pursuing this endeavor with me. My life and work have been enriched because of your steadfast friendship and presence in my life. I thank my children, Malka and Noah Matan, for providing me with boundless inspiration and joy. To Shelli Aderman, my amazing wife, thank you for caring for our home and our children. I am so thankful for your unwavering love and support.

xii

ACkNowLEdGMENTS

Foreword to the First Edition

The theater and its systems of training have for millennia been focused on an intergenerational model of appren­ ticeship. Generally, older people have passed on to younger people what it is they do, in both workplace and classroom situations, and the younger have received and borne the torch of practical knowledge as it was handed to them. In some cases, older and younger people have innovated new ways of doing things, and the catalog of what should be done – current best practices, if you will – has been rewritten. The theater maker required to understand the great­ est number of best practices – the one who works most closely with every other kind of theater maker – is the stage manager. So the stakes are high for those who fill this role, and for those who teach others to fill it. There is a critical opportunity and need to raise the standard of practice. In my own experience as an actor, director, and producer, I have relished collaborations with gifted stage managers (particularly the authors of this book) who knew not only what needed to be done, but also why and how it needed to be done. What if the next vital text about stage management could be written from such an informed and aspirational perspective?

xiii

Stage Management Theory as a Guide to Practice, then, is a most welcome and transformational contribution to the project of theater training. Here, Narda E. Alcorn and Lisa Porter harness more than 50  years of profes­ sional experience and more than 25  years of teaching gifted stage management students. Having known them since we were all three graduate students together at Yale School of Drama, I have spent a significant fraction of my career trying to recruit them for one project or another, only to discover they were unavailable because one was on a world tour or the other was on Broadway. We’ve worked alongside each other in production, and as fac­ ulty colleagues; I’ve been close to them for both simpler and more challenging processes, marked by both hardwon successes and painful, if instructive, failures. One thing most powerful to witness, throughout Lisa and Narda’s careers, is how devoted other people are to them. They function superbly at a high level of vision and skill, and they have a gift for friendship. When new acquain­ tances find out I know and love either one of them, I can feel the room warm up and hear the ice breaking. More­ over, I can attest that either is eminently qualified to write the definitive volume on the practice or teaching of stage management. But fittingly, this volume speaks with special power pre­ cisely because it reflects their collegiality, their compan­ ionship and their collaborations, their shared history and their vulnerabilities. They relate not only what work they have done, but also why and how they did it. Mined as

xiv

ForEword To ThE FirST EdiTioN

the result of a chance meeting at Yale, fired by friendship, and forged in sturdy curiosity about modes of thinking that weren’t part of their own training, the book reflects the best instincts of servant leaders. There is import in making the path wider and safer for those who follow in our footsteps. But there is vitality, as well, in giving close attention to why trailblazing matters, and how many dif­ ferent ways one can do it. This novel approach is part epistle, part manual, and part invitation. It organizes ideas and chronicles the orches­ tration of deeds, to be sure, but it also encourages in students the kind of striving for self-knowledge which separates adults from children, and which can sustain both confidence and humility in work for a lifetime. As exemplary teachers, Narda and Lisa know the training is their responsibility, and the education is the student’s. The brilliance of their production, as is true of all great theater artists, is in the timely and personal coherence of their reasons for doing the work, with its form, and the needs of its audience. Like a great play, it won’t hit any two of us exactly the same way on the same night, so it captures the true spirit and power of the art form. And, lights . . . James Bundy Dean/Artistic Director Yale School of Drama/Yale Repertory Theatre New Haven July, 2019

ForEword To ThE FirST EdiTioN

xv

introduction to the Second Edition

The first edition of this book was published in Janu­ ary  2020, just weeks before COVID-19 would forever change the world. The brutal murder of George Floyd in May of that year shone a spotlight on another ongo­ ing epidemic: police brutality against Black people. This violence had ripple effects throughout society, including a call for accountability, inclusion, equity, and the end of oppressive behavior in the American theater. These events led us to reflect on our work, and upon examina­ tion, we chose to change our stage management curricula, incorporating an anti-oppressive pedagogy centered on equity, inclusion, and compassion. In the summer of 2020, we published We Commit to Anti-Racist Stage Management Education on the HowlRound TheatreCommons (published in this edition in Appendix A). Instead of in-person book signings, during the 2020–21 academic year, we virtually visited dozens of classes nationwide and taught workshops for unions, professional organizations, and alumni associations. We contacted our publisher and proposed a second edition, which would include strategies for stage managers and other collaborators to cultivate anti-oppressive work­ places. Our ultimate expression of this work culminated

xvi

in The Stage Manager’s Role in Building an Equitable and Compassionate Production Culture, a workshop we led for Broadway & Beyond: Access for Stage Managers of Color in the Spring of 2022. Stage managers can inspire change by implementing inclusive practices. In this edition, you will find new expe­ riential stories and a new chapter, Power, that provides tools for self-inquiry and collaborative efforts that pro­ mote transparency and connection. The structure of how we create performances post-2020 is being consistently questioned, debated, and discussed, potentially making the daily actions of stage managers more impactful. As we write this foreword in May 2023, we have returned to live-in-person production experiences. Change is con­ stant. The uncertainty of the past three years has taught us that even the slightest adjustment in behavior, attitude, and action can positively influence a workplace. Our goal is that the updates found in this edition will offer options for inquiry, engagement, and, ultimately, an innovative and empowered approach to your work. –Lisa Porter and Narda E. Alcorn, May 2023

iNTroduCTioN To ThE 2Nd EdiTioN

xvii

1

Our Story It is fitting that two stage managers with vastly unique trajectories would write a radically non-traditional stage management text focused on theory. Lisa (she, her, hers) is extroverted, big-picture oriented, reflective, and quick to process, while Narda (she, her, hers) is introverted, system-oriented, a thoughtful problem-solver, and a ded­ icated decision-maker. Our common ground has been a commitment to learning and growing from all types of work experiences. doi: 10.4324/9781003314639-1

1

Education We are writing the book that we both would have wanted to read while studying together at Yale School of Drama. Many people have told us that stage management was not a serious or viable profession, that we would burn out, and worse, that the work lacked creativity. We repeat­ edly ignored that advice, and have spent years combing through theories of psychology, business, science, sociol­ ogy, neuroscience, philosophy, and anthropology, to label concepts that we have intuitively employed from our early days. We offer an approach to stage management based upon ideas and techniques we have honed into theory. We met in the Fall of 1992 at Yale School of Drama, coming from immensely different backgrounds, but equally passion­ ate about similar aspects of life and work. At the time, the stage management MFA at Yale was a subset of the Theater Management program. The training at Yale, the oldest stage management program in the United States, was solidly tra­ ditional, focusing on preparing stage managers to work in an Actors’ Equity Association (AEA) governed environment on Broadway, Off-Broadway, and in regional theaters. Our classroom debates at Yale exposed a difference in approach that led to deep conversations about what stage management entailed, and why the field holds such signifi­ cance for both of us. While we honored the importance of a prescribed technical approach, we were intrigued by the potential for the discipline to grow in scope and influence, and we shared the common goal of being an integral part of the evolution of our field. We sought an expansion that

2

ThEory

included interpersonal communication, system implementa­ tion and management, organizational culture and behavior, team dynamics, flow, and style. These ideas began percolat­ ing for us during graduate school, and have been the basis of many of our conversations about stage management.

Career Paths We both graduated in 1995 and moved to New York City, embarking on drastically different paths. Narda was in pur­ suit of Broadway, Off-Broadway, and regional stage man­ agement positions, as well as teaching opportunities. Lisa discovered her path in a non-traditional career that included international and interdisciplinary work, dance, corpo­ rate events, as well as Off-Broadway and regional theaters. Narda built her career with August Wilson and Kenny Leon, and has had notable collaborations with Saheem Ali, Bartlett Sher, and Viola Davis. Lisa has stage managed on six continents, and worked on significant projects with Laurie Anderson, Mikhail Baryshnikov, Yo-Yo Ma, and Ong Keng Sen. As our careers unfolded, we remained close and contin­ ued to compare notes. At that time, stage management was evolving into a career in and of itself. We were part of that trend, having sought stage management as our life’s work.

Ongoing Theory Conversation Throughout the years, our discussions and debates around stage management methodology have been a through-line in our relationship. We have navigated marriages, raising children, disability, illness, death, divorce, and the related ThEory

3

challenges of coming of age and growing into middle life as best friends. The conversation around theory has been at the forefront for many years, and we have asked each other questions about how to establish, incorporate, and embrace theories that support our practice. In some cases, this explo­ ration means tapping into existing theory, and in others, we have developed our own, empowering you as the stage manager to include the “How You” with “How To.” Theories evolve over time in response to an ever-changing society. Since 2020, we have examined inclusive and antioppressive theories in relation to stage management prac­ tices. This dialogue about theory has been informed by our combined experiences as stage managers, researchers, and educators. Our identities have influenced these ideas, Narda as a Black woman, and Lisa as a White woman. We have integrated everything we have taught in our class­ rooms into this book in one form or another, discovering that every challenge and triumph we have faced demands that we employ tools that cross disciplines, and empower us to engage with ideas that inspire problem-solving. We are passionate about, and dedicated to, reinventing how we think about and do our work, no matter how familiar it may be at this point in our careers. While our approaches to stage management have evolved, we are steadfast in our commitment to people and the pro­ cess. The human element continues to be the most challeng­ ing and enjoyable part of collaboration. The volatility and joy of connecting with others in service of storytelling fuel our commitment to each and every project. The failures,

4

ThEory

bumps, mistakes, and bruises along the way have informed each new collaboration, expanding our approach and ability to integrate theory that ultimately guides our practice. We have witnessed many students engage with this mate­ rial in ways that propelled them into the career paths of their choice. Students have discovered hidden aspects of their passion for stage management, and gained selfawareness and authentic leadership skills. Graduates of our various programs have told us how valuable theoryguided practice is, and how adaptable it has been to other genres like film, television, and, in one case, even “stage managing” a naval ship. Their feedback illuminates the effectiveness of our collective methods.

Theory-Guided Practice The theories and practices outlined in this book are designed to help you consider an adaptive approach in which you respond uniquely to distinctive production environments and cultures. The stage manager who employs theory-guided practice incorporates perspec­ tive, long-term thinking, aesthetic awareness, anticipa­ tion and innovation into their work. Theory-guided practice can inspire you to prepare for the vast and varied scope of a process, forging your path instead of waiting to be shown the way, and help you respond to the pres­ ent moment with care and creativity. The needs of the people and process are prioritized, using a flexible meth­ odology to work within a prescribed structure, or devis­ ing a structure as the production demands. ThEory

5

Style Your unique stage management style is the individualized combination of social location, work habits, character, and disposition. Social location can be defined as a com­ bination of factors including gender, race, social class, age, ability, religion, sexual orientation, and geographic location that can inform a stage manager’s approach. Additionally, your history, experience, skills, education, preferences, level of self-awareness, and the attributes that make up your personality inform your working style. Your approach is your own, and can grow, adapt, and change over the course of your career, informing your decisions and interactions.

EXPERIENTIAL STORIES The experiential stories you will find throughout the book provide glimpses into specific situations that we have encountered in our work. They are meant to enhance your understanding of the application of theory in a specific situation and are written in the first person by one of us. Out of respect for our collabora­ tors, we are intentionally not naming names or refer­ ring to specific productions.

Language When we refer to stage managers, we are including all members of the stage management team. Inclusive ter­ minology relating to an individual’s social location

6

ThEory

continues to change. We have written with inclusivity, acknowledging the ongoing development of language. Traditional stage management environments are typically regulated by Actors’ Equity Association (AEA) rules and include Broadway, Off-Broadway, and regional theater in the United States. When we discuss stage management in the non-traditional context, we’re referring to envi­ ronments that could be non-union or unregulated, such as international projects, corporate events, and dance.

Conclusion We have distilled our ideas into chapters that are geared towards students and educators, as well as working stage managers who have been engaged with stage manage­ ment theory without a systematized framework. These theory-laden chapters can be approached sequentially or employed in a free-standing manner. It’s been more than a quarter-of-a-century since we met at Yale School of Drama, and we have written the book our younger selves were hungry for.

ThEory

7

IN THEORY AND PRACTICE • The practices at the end of each chapter provide a framework for self-reflection, synthesis, and meaningful engagement with the theories in the chapter. You will be provided with self-assessment tools and practices to incorporate into your own work.

THINK LIKE A STAGE MANAGER • Recommendations to “Think Like a Stage Man­ ager” will include specific prompts and ideas that engage the theory-guided practice, to help you consider and examine how you approach your work.

8

ThEory

2

Each stage manager has their own distinct practice, an individual methodology and technique which comprises their style and creative approach. Every stage manage­ ment responsibility has a “why” and a “how.” The “why” is often determined by the needs of the production. The “how” is answered by each stage manager’s unique way of working. During a production process, stage managers can draw upon stage management theory to engage their skills, principles, and aesthetics, and be deliberate about their “how.” doi: 10.4324/9781003314639-2

9

Nine Phases of the Production Process One method stage managers can use to engage with the­ ory is the Nine Phases of the Production Process. This is a theoretical framework that breaks down a production process into individual stages. By identifying their style and approach, stage managers can intentionally choose theory-based practices that guide each task, communica­ tion, and facilitation in service of the specific production. There are multiple strategies stage managers can employ as they use the Nine Phases to develop an individual­ ized practice that is shaped by intention and an adaptive approach. The Nine Phases are: 1. Pre-Production 2. First Rehearsal 3. Rehearsals 4. Pre-Tech 5. Tech 6. Previews 7. Opening 8. Performances 9. Closing Depending upon the needs of the production, these phases can be implemented in a linear fashion, individu­ ally, or in different combinations. Some projects, such as corporate events or touring, might demand a compressed version of the Nine Phases, depending upon time avail­ ability, the environment, or the venue.

10

PrACTiCE

Phase One: Pre-Production Pre-production, often referred to as prep, is a critical planning time. This initial phase provides stage manag­ ers time to establish themselves as leaders and creative partners. This phase is when systems are learned and implemented, relationships are initiated, communication methods are determined, information is generated, and conversations about inclusive practices can be opened. Stage management team members are often introduced to one another during pre-production, establishing a team dynamic. Stage managers can become familiar with the work or project during this first phase, and meet with primary collaborators to learn about the artistry of the piece. In many traditional theatrical environ­ ments like Broadway, Off-Broadway, and regional the­ aters, stage managers have six to 12 days of preparation. Non-traditional environments, such as dance or inter­ national festivals, may have different amounts of avail­ able time. The detailed aesthetics of the rehearsal room require consideration and can be consciously prepared with the goal of creating an environment that is support­ ive of discovery. By contemplating the work, the struc­ tural variables, and considering all the individuals who will use the room, stage managers can make adjustments based on the project’s requirements. During this phase, the production stage manager (PSM) can employ strategies to influence the work habits of the assistant stage managers (ASMs) and production assis­ tants (PAs) on the stage management team. While the PrACTiCE

11

PSM does not always get to choose their team, it is their responsibility to establish the workflow and develop the language of teamwork. The PSM can share everything they know about the work and the producing organiza­ tion, ascertain the team’s experiences and interests, deter­ mine clear systems for generative work, and delegate responsibilities. Functional teams empower individuals, and each member contributes to a functional team. Spe­ cific practices can be engaged to build trust, efficiency, and collaboration. Making time during prep in which the PSM discusses priorities, goals, and specific perceived challenges of the production can be a useful method to establish expectations.

THE RESULTS OF PREPARATION I was being considered for the PSM position on a clas­ sic American revival and I was asked to interview with the director. Prior to the meeting, I read the script and investigated the last three years of his work. We sat down, ordered our meal, and I  told him I  admired a movie he had recently directed. I then asked a question about one of the characters in the play and why they made a certain choice. We spent the next three hours discussing the play, the playwright, the lead actor, with whom I had worked before, and why the lead and the director wanted to do this play at this time. The only logistical discussion we had was about our next meet­ ing. Shortly afterward, I  received an enthusiastic call

12

PrACTiCE

from the producer’s office offering me the job. By being prepared, I demonstrated that I wanted to partner with the director as an engaged collaborator. –NEA

Consistent meetings allow the team to reflect on and discuss the work. Questions such as, “Why this project, why now, and what does the creative team want the audi­ ence to receive?” can be addressed. The team can research the working culture and unique methods of the entire collaborative group, and look for ways to connect and adapt to those processes. Proactively meeting members of the producing entity can position the stage manage­ ment team to understand the governing authority struc­ ture, and demonstrate that the stage management team values collaboration and each individual’s contribution to the process.

Systems The creation, implementation, assessment, and mainte­ nance of systems are critical tools that stage managers can begin utilizing during the pre-production phase. This is when the team synthesizes information and determines which communication systems would best support the production. There are existing systems to diagnose and new ones to implement. Every institution has its proto­ cols, and every project requires a unique approach. Iden­ tifying established systems for communication within a PrACTiCE

13

producing organization or singular production, while adapting to the specific needs of a project, shapes the stage manager’s methodology. The stage management team can establish communication preferences that allow the PSM to disseminate information effectively. A traditional pro­ duction typically distributes written reports after every rehearsal to an established group of staff and creative team members. A non-traditional production, like dance or a tour, may not require this frequency of communica­ tion, and stage managers might be most effective sending informal updates as needed. Likewise, in this early phase of the process, stage managers can devise effective sys­ tems to document the production in the event that it is remounted. Implementation of systems during this prep­ aration phase provides a map for engaging with a specific institution or a particular project, and supports effective management of the often unpredictable creative process.

Phase Two: First Rehearsal A production process can last four days or 40 weeks, and the first rehearsal marks one significant day in that process. It is often the first time collaborators meet in person and begin to build the relationships that will drive the process. The stage manager, along with other leaders in the room, sets the tone for the rehearsal environment, intentionally or otherwise. In a traditional, union-driven environment, it is standard practice for stage managers to dedicate a few minutes of the first rehearsal to discuss company business. During

14

PrACTiCE

this time, the stage manager can explain the structural expectations of the rehearsal process. This is frequently the first opportunity for the stage manager to express who they are and how they work, and it can be a power­ ful tool to share their management approach and leader­ ship style. Approaches can include a formal or informal presentation style, a concentration on guidelines, and a focus on support systems and opportunities. Company business can express expectations about the production schedule, describe how the rehearsal room and the the­ ater will function as supportive environments, and intro­ duce and empower the stage management team as liaisons to production departments. On the first day of a rehearsal process, collaborators can collectively discuss shared values and how they intend to work and communicate with each other. This is an inclu­ sive practice that prioritizes people and relationships. Shared intentions in some traditional theatrical environ­ ments have evolved to include aspirations, agreements, or plans that the group agrees to follow and uphold. These agreements could be co-created by the full company or offered by a single collaborator.

Phase Three: Rehearsals Rehearsals are filled with moment-to-moment work that activates theory for the engaged stage manager. This is the phase in which the project is developed or devised, and particulars of the design, which were composed before the rehearsal process began, are tested. Ideas are PrACTiCE

15

introduced, explored, and sometimes dismissed, and the group dynamics emerge. The stage management team is at the center of rehearsals, coordinating both the perfor­ mance and design elements, recording blocking, track­ ing all physical elements, collaborating with the creative team, and communicating details about what is happen­ ing in the rehearsal room to the producing organization and others. The rehearsal phase provides many situations where stage managers can consider how to approach their work. Stage managers can listen actively, use engaged body lan­ guage, and ask genuine questions that indicate a strong commitment to understanding the director’s approach. With a discerning eye, stage managers can also represent their design partners, ensuring the staging is supported by the scenery, and that the costumes will work in tandem with the blocking or choreography. The stage manage­ ment team can support the rehearsal process by anticipat­ ing needs before they are requested, without hesitation or judgment, and by providing a dynamic structure that prioritizes effective communication.

WHERE TO EAT LUNCH? I was stage managing a revival starring an Oscar-andTony Award-winning film actor, and our rehearsal stu­ dio was in a popular part of New York. This meant that our lead could not leave the building for meal breaks as going out in public just drew too much attention. His

16

PrACTiCE

comfort was important to me, so I prioritized creating a dining area where the cast could sit together. It was simply tables and chairs in a corner of the room, but within a week, almost every member of the company was eating their lunch there. I requested partitions to further delineate the space, and over time, they were decorated with research about the play’s period and the playwright. The tables soon had tablecloths, salt and pepper shakers, and napkin holders. Hot sauce and condiments appeared, and cast members brought in dishes to share. The banter was like a festive family gathering, complete with anecdotes, verbal jabs, and juicy gossip. This dining area was central to the cre­ ative rehearsal space we were building, and ties were created that enriched the environment offstage, as well as the onstage storytelling. –NEA

Phase Four: Pre-Tech During rehearsals, the PSM determines when the stage management team will begin to prepare for technical rehearsals. Pre-tech requires stage managers to embrace two phases: what is still happening in the rehearsal room, and what will be happening in tech. Discussions, plans, and paperwork can emerge from this dual perspective. Pre-tech is the time to revisit incomplete sequences or questions about how a prop or scenic item will func­ tion, even if the approach is, “we’ll figure it out in tech.” PrACTiCE

17

Accepting that the unknown is part of the process assists the stage manager in managing group expectations and supporting other collaborators. Talking through the technical elements with creative col­ laborators and the stage management team is a useful strategy during pre-tech. By discussing every entrance, exit, scenery or costume change, and any other transition that might occur on stage, stage managers can uncover previously unanticipated issues. By understanding how the show will be realized in performance and anticipating the production’s collaborative needs, the stage manager is often better prepared for unforeseen challenges during the tech phase. In non-traditional settings, a thorough understanding of each phase allows stage managers to anticipate effec­ tively, and possibly use the phases in a different order. For example, if technical elements are introduced earlier than they might be in a traditional process, concurrent paths of rehearsals and technical rehearsals may occur at the same time, requiring the stage manager to address pre­ tech in a different way than in a traditional production.

MORE THAN A SUITCASE I’m in China, working on a “marathon” concert of 20+ classical and improvised pieces of music, which include blocking and a seamless, non-stop flow of entrances and exits. The musicians are teaching artists

18

PrACTiCE

from across the globe, and they’re performing with an international group of students, primarily from Asian countries. I  need to be prepared, and everything in my kit needs to be well-considered – if I don’t bring a supply or tool with me, finding it locally could be difficult. Over two decades of working in different countries and across cultures, I  have created a stage manage­ ment kit that serves both the independence I need as an American stage manager and the interdependence I aspire to cultivate in this multicultural space. We’re backstage for the first time, preparing for the tech rehearsal, previewing the space, and mapping out the transitions. I roll out the mid-sized suitcase, set it on the ground outside the stage right door, and open it. The crew and a few interns gather around, and there is an audible gasp as I open the top, and they see what’s inside. There’s spike tape, pencils, a three-hole, a two-hole punch, a dual metric/Imperial tape measure, and so much more. The star of the show is a tiny Canon Printer, the third one I’ve traveled with for over 25 years. The printer enables me to control the flow of production information and develop my relationships directly with my collaborators, the crew in particular. It’s not my first time working in China, and I know that priority one is building trust with the crew that will be in charge of the scenic moves. That can be

PrACTiCE

19

difficult in a culture that’s steeped in bureaucracy and middle management, so I need them to get the infor­ mation from me, rather than receiving it through those who may not be familiar with the actual needs of the production. With the ability to print, I  can hand the crew the mostly visual diagrams first, and I’ll ask the translator to write a few words in Mandarin on them. I distrib­ ute the printouts, and we gather in a small circle. I ask for everyone’s names and slowly repeat them, know­ ing that sometimes people in this work culture who have formal authority don’t always take the time to learn the names of those who hold less power. We map out each transition, allowing time for translation, and I invite ideas, explaining that we will orchestrate them as a team. I also tell them that I will own any mistakes we make, to help them feel comfortable sharing freely. I ask for their patience and share how much I respect their beautiful concert hall and the work we will cre­ ate together. Ultimately, all this information will travel up the hierarchy to management, and the printer has already helped me build trust with the crew. –LP

Phase Five: Tech During tech, the production transitions from the rehearsal space to the performance location, and the stage man­ agement team integrates technical elements. Rigorous

20

PrACTiCE

and imaginative preparation conducted during pre-tech prepares the stage manager to effectively lead technical rehearsals and develop specific cues. Tech can be chaotic and intense, due to the number of people involved and the multiple elements that require coordination. Tech can also be a phase where values that may have been prioritized during the rehearsal process, like kind communication and mutual respect, might be abandoned because the pressures of time and meeting an audience are so acute. Clear and consistent commu­ nication from the stage management team won’t neces­ sarily prevent challenges, but communicating with care and kindness can encourage a civil process. When stage managers are intentional with their words and tone, and prioritize compassion and a caring culture during this high-stress phase, they can create an environment where every collaborator feels supported. LEARNING CURVE I was taking over a production that had been devel­ oped a decade earlier, and touring it in Australia, Bra­ zil, and Japan, with lengthy stretches of time between each stop. Most of the project was literally foreign to me, as it was about the Cambodian Genocide, per­ formed primarily in Khmer, and underscored by a Japanese sonic artist. I wasn’t familiar with the script, I didn’t originate the cueing, I didn’t speak any of the languages of the performers, and many traditional the­ ater practices just didn’t apply. PrACTiCE

21

In preparation, I  watched the archival video and researched Cambodian history, and the stage manager who had originated the production briefed me before I flew to Phnom Penh. I was moved by the intensity of the storytelling and intimidated by the daunting pro­ cess of authentically remounting the production and learning the intricate cueing. The first day’s rehearsal felt awkward. I had to show up and be ready for tech, and confident enough to lead the group. There was no learning curve. The moment the performers walked onto the stage, I felt a great sense of responsibility. This settled me into a rhythm, focused on the collaboration rather than worrying about the outcome. We used body language and gestures to com­ municate, which allowed the performers to physically show us what they needed. My disciplined efforts to connect, intricately learn the cueing, and build relation­ ships taught me a different type of collaboration. –LP

Phase Six: Previews Previews are performances with a paying audience that occur concurrently with rehearsals before opening night. This is often the first time the work is performed publicly and receives feedback from the audience. Based on this feedback, the creative collaborators can make changes up until opening night. During previews, the stage manager is still running daily technical rehearsals, during which

22

PrACTiCE

everything from the script to the scenery to the order of the scenes can adjust. Changes from an afternoon rehearsal are then incorporated into the evening’s performance. Tools and strategies that support navigating change can ben­ efit the stage manager during previews. These can include quickly circulating logistical and creative changes with methods such as written notes, callboard postings, emails, or group chats. Neutrally communicating the outcomes of logistical and artistic choices can manage expectations, like sharing how time will be impacted when the creative team chooses to rehearse a new idea. Additionally, ensuring that the offstage and onstage environments are as consistent as possible, and acknowledging the vulnerability of meeting an audience, can provide support to the company.

Phase Seven: Opening In traditional theater, opening night is the culmination of all of the previous phases. In a non-traditional process, such as a gala or an event, technical rehearsals, previews, and opening could coalesce in a single day. Opening is also the moment the company’s preparatory work is con­ sidered complete, and provides everyone in the company an opportunity to thank one another and recognize their achievement and hard work. In traditional theatrical production, directors and designers regularly depart immediately after opening, and the stage management team is responsible for maintaining the piece’s aesthetic integrity over the run. The stage managers have the history of the rehearsal and tech process, along with PrACTiCE

23

the blueprint of opening night, to maintain the show. Show maintenance could be shared with music directors, dance captains, and associate directors, and how this responsibil­ ity unfolds each day is specific to the production.

Phase Eight: Performances There are shows that run for one night or two weekends, and others that never close. Performances require stage managers to care for the unique interaction the project has with the audience, and the continued challenges of repeating and maintaining live performances. In a tradi­ tional process, the additional responsibility of rehearsing understudies during this phase requires stage managers to emulate the creative climate that was established by the director. Entire scenes and moments may be built upon a phrase or word that was given to a performer in rehearsal, and using the exact language of the director allows the stage management team to recreate the direc­ tor’s original intent in understudy rehearsals. Performances are when the stage management team settles into a routine, building upon everything established during the process’s previous phases. Just as stage managers can help create a rehearsal room culture in which every person feels included and able to ask a question or open a conver­ sation, they can support the maintenance of this environ­ ment throughout performances, where the work unfolds within a dynamic structure. Once immersed in the run, performers and the crew rely on the collaborative founda­ tion that has been built to sustain their work. The stage

24

PrACTiCE

management team is able to influence this environment by prioritizing respect, thoughtfulness, and consistency.

Phase Nine: Closing In many traditional processes, stage managers are respon­ sible for archiving the production upon closing or shortly thereafter. Establishing a time for self-reflection and goal assessment can be useful at the closing of a process. Evalu­ ating triumphs, challenges, and specific moments of effec­ tive collaboration, both individually and as a team, allows stage managers to develop more robust practices for the next collaboration.

Conclusion The Nine Phases provide a bedrock upon which to evolve an approach that integrates theory and practice and gives the stage manager tools and techniques to address the chal­ lenges, expected and unforeseen, of the production process.

PrACTiCE

25

IN THEORY AND PRACTICE • Review the list of theory-based practices below and reflect on how these ideas apply to each of the Nine Phases. Continue this list for yourself, specifically identifying how your theory-based practices can guide each task, interaction, and communication: o Leadership – Establish yourself as a stage manager and creative partner o Communication – Proactively meet the orga­ nization and your collaborators o Exploration – Nurture and promote an envi­ ronment that fosters discovery, risk-taking, interdependence, and play o Collaboration – Intentionally build primary relationships in support of the artistic vision of the project o Empowerment – Purposefully introduce your team members as liaisons to the cast and pro­ duction departments

THINK LIKE A STAGE MANAGER IN PRACTICE • Taking into account each of the Nine Phases, how will you approach your next project differently? • Which values and attributes are most important for you to embody in each phase and why? Use

26

PrACTiCE

a template to articulate your theory-based prac­ tices clearly: During (phase), I  want to incorpo­ rate/personify (value/attribute) because (why this is important to you/what this could mean to your team/cast/company). • How can you adapt your communication skills to each phase of the production process, identifying various tools as a member of the stage manage­ ment team?

PrACTiCE

27

3

The environment in which a production process occurs dramatically influences how it unfolds and how the col­ laborative team interacts. Environments can include different types of performance, such as dance, opera, concerts, events, and circus arts, all of which can be referred to as genres. Environment can also refer to the physical venue, space, or geographic location, as well as regulated and unregulated processes, and formal and informal authority. How people work can compose an

28

doi: 10.4324/9781003314639-3

environment, and stage managers factor safety into every environment because of its widespread impact. A virtual meeting room, rehearsal space, and/or a virtual performance can be considered an additional environ­ ment or an expansion of an existing environment. Ini­ tial meetings may be scheduled virtually and there can be projects where some or all rehearsals and/or performances are conducted virtually. Team members will participate in the pre-production and rehearsal phases remotely and the stage manager can give the same thoughtful consider­ ation to virtual spaces as they do to physical ones.

Genres Genres can be specific or interdisciplinary, combining more than one category of performance into a cohesive whole. Whether working in one or a combination of multiple genres, the unique challenges presented often require an adaptive understanding of multiple disciplines. While different types of performers often share similar traits, there are also observable differences in how actors, dancers, opera singers, or musicians train, practice, and prepare. Musicians may require a quiet, solitary space to warm-up, while dancers often need a sprung floor with marley, and a regulated, consistent temperature. An opera singer arrives already having learned their music, while actors learn their lines during the rehearsal process. Performers from different backgrounds have different instruments to care for, including their voice, a physical instrument, or their body.

ENviroNMENT

29

Stage managing in an unfamiliar genre can be disjointed, and research can help prepare the stage manager for the process. Additionally, identifying threads of connec­ tion can create unity for the collaborative team. There could be pre-existing relationships or an affiliation with the same educational institution. The creative team’s work histories can be examined. Is this a group that has worked together before, or is everyone involved new to one another? The stage manager’s role as an integrator, interpreter, and translator may vary, depending on the answers. Teams familiar with one another may not need the stage manager to interpret for them. Still, a group that has not worked together before may rely on the stage manager’s ability to translate different production pro­ cesses across genres. Depending upon their working environment, the stage manager’s initial conversation with a colleague may be their only opportunity to establish themselves as a cre­ ative partner, implement systems necessary to orches­ trate the event, and build a relationship. If the production phases are condensed, effective strategies include explic­ itly stating expectations, goals, intentions, and the timeline. Thoughtful, well-framed questions designed to uncover useful information can quickly establish rapport and build a working relationship during a first meeting. When the stage manager joins the process at a later phase, questions about all aspects of the production, such as relationships, aesthetics, or tech, can reveal important details. In dance, for instance, the stage manager may have

30

ENviroNMENT

learned the pieces in advance, via video, but they often don’t join the production until tech, which could last for a single day, or just a few hours. Additionally, there is a common practice of stage managers joining productions already in the performance phase. Surfacing information in either of these environments with well-framed ques­ tions can aid the stage manager as they integrate into an already formed group dynamic.

Space and Location The space or physical venue, and geographic location where the production process occurs frequently shape the stage manager’s approach. These environments include different types of stages, such as proscenium, thrust, in-the-round, and different spaces like outdoor amphitheaters, parks, or a coffee shop or living room. The geographic location of the production is also a factor in any environment. All of these environmental elements require stage managers to consider many possibilities in relation to the production, including the proximity of the cast to the audience, dif­ ferent languages, if the performances take place outdoors, weather, and time zones. For example, rehearsing and per­ forming a show in California whose producers are in New York impacts when stage managers might receive informa­ tion, answers to questions or requests, or approvals needed to move the production process forward. The physical venue can also shape how communication is used during the process. Tools like headsets, micro­ phones, and god-mics are available to the stage manager

ENviroNMENT

31

and the crew in a traditional theater environment. When working in an environment where the familiar tools aren’t provided, accessible, or applicable, the stage man­ ager may need to devise innovative and adaptive methods like group texts, flashlights, or two-way radios to com­ municate effectively. In international environments, apps that translate language, temperature, and measurement systems could be adopted.

BACKSTAGE PASS I was the production liaison and stage manager for a free outdoor concert performed by a world-renowned musician. The organizers had underestimated the number of attendees and crowds formed on all sides of the stage, even in the streets behind it where there wasn’t a sound system. I  had planned on being out front during the performance, but over the course of the day, I decided it made more sense to call from backstage, where I  could be close to the performer and in personal contact with the producers. Given the number of people, there was no way that I would have been able to walk between backstage and the booth. After a failed attempt at calling the show through the unreliable headset system, I ended up texting cues to the local stage manager who was in the booth. Because I couldn’t see the stage image from my position, I had to frequently cross to the front of the stage to monitor the camera angles and lighting. The enormous crowd loved the performance, had no idea of challenges that

32

ENviroNMENT

went into it, and the unconventional communication solutions fit the environment well. –LP

Regulated and Unregulated Environments Union status is an important consideration that structur­ ally impacts many elements of a production environment. The International Alliance of Theatrical Stage Employees (IATSE) is the union that governs stagehands in multiple performance environments, including Broadway, as well as many Off-Broadway, regional theater, television, film, and event spaces around the United States and Canada. When the first stop of a production is a theater governed by union regulations, and the next stop is a university campus where those rules have been replaced with uni­ versity policy, adaptation is necessary. In productions that fall under IATSE’s jurisdiction, rules determine who can touch what, when rehearsals can take place, and who is allowed to move furniture and operate equipment in both the rehearsal room and the theater itself. In these scenarios, the stage management team intentionally navigates union rules while adhering to the demands of the production.

MOVING TO BROADWAY I was consulting on a project that was moving from Off-Broadway to Broadway. The director wanted to know what the most significant differences would be ENviroNMENT

33

and how best to prepare for them. I explained that mov­ ing from a non-union theatre to an IATSE-regulated house was going to be the biggest challenge. A  large part of the play was improvisational, and the dialogue adapted the headlines of the day. I  recommended the stage manager introduce the cast to the numer­ ous union rules that govern Broadway by describ­ ing them as systems of support and safety measures. I  also strongly suggested that the stage management team prepare the union crew for this non-traditional production by explaining that elements of the piece shifted daily, that almost everyone on the design and directing team was new to this level of production, and that this could be an opportunity for the veteran crew to teach this young creative team about working on Broadway. –NEA

Formal and Informal Authority The authority structures of the environment will impact the process of the stage management team. Formal authority is the established roles and responsibilities of individuals, based on an existing organizational struc­ ture. Informal authority refers to the personal relation­ ships and bonds that exist between individuals, and it exists in relationship with formal authority. Some relationships are based upon both types of authority, while some will only exist exclusively in one

34

ENviroNMENT

category. The production manager who has hired a stage manager they have known for years may need to invoke their formal authority in terms of a budgeting issue, or a famous performer may hold more informal authority than the rest of the cast members. The impact authority structures can have on a production process isn’t always clear at the outset, and stage managers can research and investigate to discern the models of authority in a new environment.

AUTHORITY IN ACTION I was stage managing a high-profile Shakespeare play with a well-known actor whose film career was on the verge of exploding. The entire show rested on his shoulders, and the stakes, especially his, were very high. He was transparent and direct when he approached me about missing an afternoon of rehearsal. He was reading for a leading role in an Oscar-winning director’s next project, opposite two of the world’s most famous actors. He could have easily gone to the producer and asked for the time, or he could have just told me he wasn’t going to be there, but instead, he went through the proper chan­ nels, rather than invoking the informal authority of celebrity. It took some effort to reschedule the day in question, but ultimately, despite the protestations of the director, we made it work. The day after the star was absent, a different actor in a much smaller role came and requested the morning off for an audition. ENviroNMENT

35

Bending over backward for the leading man was one thing, however, accommodating a younger and less established cast member was quite another. I  chose to invoke my formal authority and say no to the request, clearly defining a boundary. For the record, the leading man got the part. –LP

Environment Influencing Safety The stage management team’s assessment of the envi­ ronment will impact how they address safety concerns. There are multiple aspects of safety including physi­ cal, emotional, and psychological. Some productions include safety training for evacuation or health emer­ gencies in both the audience or onstage. Large events or high-profile environments involving celebrities, international diplomats, and government officials might require specific levels of security, including guidelines for responding to an active shooter. The pre-show production timeline may have to include background checks of company members, security sweeps, and the implementation of a safety screening process for the audience. Being aware of the safety requirements of the venue, and thinking through the first few steps of an emergency process, is often an essential duty of the stage management team. In other environments, such as immersive theater, where the traditional boundaries between audience and

36

ENviroNMENT

performers are blurred, performers could be more vulner­ able. Creating and implementing response systems, such as a safe word to notify stage managers that assistance is needed, could be necessary. Notifying the audience they are being filmed can deter a potentially inappropriate patron.

TAKING THE STAIRS We were two weeks into rehearsal when another production began working in the same building, on the same floor. This new show focused on disability culture and awareness, and several performers used power chairs, wheelchairs, or walkers. Their stage manager used a power chair and made a point of find­ ing me after both of our rehearsals had ended. After we introduced ourselves and spoke about the people who we knew in common, the stage manager asked me to assist them with their access needs. They asked, on behalf of their cast and themself, if I could encour­ age my company to use the restrooms downstairs, since most of my cast identified as non-disabled peo­ ple. There were only three stalls on each floor and only one accessible bathroom per floor. Sadly, there was no elevator in the building. I spoke to my com­ pany about it the next morning and we unanimously agreed to use the stairs. Since this experience, I’ve adopted opening conversations about access needs as part of my practice. –NEA ENviroNMENT

37

Conclusion The environment is composed of a collective group of people who are a part of it, including the stage manage­ ment team, the company, and the audience. By taking into account the various individuals who comprise this feature of the environment, stage managers can better equip them­ selves for active collaboration. A stage management team that has never worked together will require different prac­ tices from the PSM than a team that has been collaborating for years. A cast of recent college graduates may require more robust environmental support and guidance from stage managers than a more seasoned group of actors. The effects of the environment are far-reaching, and stage man­ agers can better prepare for a collaborative process when they consider the possibilities with thoughtfulness and care. The information gathered can be a helpful tool that influences and determines stage management practice.

38

ENviroNMENT

IN THEORY AND PRACTICE • Think about tools that would be most effective in the following environments. Make notes about the specific strategies you could incorporate or experiment with. o Award shows o Branded experiences such as Disney and Cirque du Soleil o Dance o Concerts o Cruise ships o Corporate events o Olympics and other large scale sporting events o Opera o Political events o Site specific

THINK LIKE A STAGE MANAGER ACROSS ENVIRONMENTS • Reflect on different environments in which you have worked, considering genres, physical spaces, authority structures, and union versus non-regulated venues. o Do you feel more at home in one environment over another? ENviroNMENT

39

o Are there strategies from that home environ­ ment that influence your choices and priori­ ties when you crossover into others? o Is there an environment you aspire to work in? If so, what is it and why? o How do you create your foundation of pro­ cess in an unfamiliar environment?

40

ENviroNMENT

4

While often considered a soft skill, effective communica­ tion practices are actually some of the hardest to learn and implement. Stage managers are responsible for estab­ lishing the communication systems within a production. By continually considering multiple options when iden­ tifying the styles and systems of communication that coexist in a collaborative environment, the stage manager can influence those systems.

doi: 10.4324/9781003314639-4

41

The theory-guided practices outlined here will provide ideas and tools for developing and honing communi­ cation systems that support the production process. Experimenting with different practices that support col­ laboration can allow the stage manager to engage and cre­ ate with innovative methods.

Communication Defaults Communication defaults refer to the unconscious and habitual ways each person has learned to express them­ selves. For example, some people are very direct, while others have a difficult time communicating what they really believe or want to say. These defaults are often ingrained and can be difficult to address and change. Exploring and engaging in new techniques and taking risks that sometimes require vulnerability can support and enhance an adaptive approach to communication. The given circumstances of age, disability, ethnicity, gender identification, race, sexual orientation, and many other aspects of identity can influence a person’s commu­ nication defaults. Assuming that each person will have a different interpretation of a conversation or decisionmaking process can be one of a stage manager’s most compelling insights.

Effective Communication Effective communication centers on having a clear inten­ tion and an understanding of one’s audience. An aware­ ness of defaults and different methods of expression

42

CoMMuNiCATioN

enables the stage manager to employ tools that can make them a more dynamic communicator. Sometimes this process can be as simple as sharing infor­ mation, while at other times, an interaction could be more complex and emotional. For example, when relay­ ing a simple technical note, there could be a unilateral correspondence to the technical director. However, when a technical note impacts the design, a more complex and sensitive conversation may be required that considers the communication methods and styles of the people involved. Prefacing an idea with ‘I’m speaking in draft,’ allows for framing an idea that is being formulated in the moment, rather than one that is presented as absolute and final. Stage managers frequently engage in challenging pro­ cesses in which emotions are heightened, and collabo­ rators are vulnerable. Tolerating discomfort and using effective communication skills can potentially diffuse tension, keep the focus on the production as a whole, and restore stability to the environment.

LET’S FIX IT IN POST I was doing an Off-Broadway show with an Oscarwinning director who had never directed a stage play. After decades of working with actors and creating gor­ geous images for the screen, he faced new communi­ cative demands and challenges. He had to learn how to direct so that actors could develop their individual CoMMuNiCATioN

43

sustainable performances, rather than choosing the best take and orchestrating the direction in post-production. One of the actors, an Off-Broadway veteran, saw warning signs early. She posed typical questions to the director about her character that he couldn’t answer. Although they both began the process with patience, the relationships quickly devolved and she started to openly challenge his authority in rehearsal. She would say, “My character wouldn’t do that” or “This is a strong woman, you’re making her weak.” I  played the peacemaker for as long as I could, but eventually, I had to turn to the producer for help. There weren’t many options left for me to encourage their collabora­ tion. He had strong and structured, and also inflexible, ideas. She knew how to build a performance that she could sustain for eight shows a week. What started as a beautiful opportunity for collaboration ended with resentment, anger, and a piece of theater that reflected those conflicts. –LP

Authentic Communication Based on self-awareness and vulnerability, authentic communication is being genuine, honest, clear, and accountable for one’s opinions, ideas, mistakes, and aes­ thetics. Stage managers can build trust and respect by modeling authentic communication, aligning with their core values, ethics, and purpose. Being willing to say,

44

CoMMuNiCATioN

“Yes, I made a mistake,” or, “My idea didn’t work, let’s try something else,” can establish the stage manager as a trustworthy communicator. The use of “I/me” language over “you/we” language, and taking ownership of one’s words, actions, and emotions is a simple and simultane­ ously complex approach that can nurture an environment of clarity and effectiveness. Authentic communication is frequently neglected dur­ ing times of high stress when the pressure of intense time constraints can sometimes lead to incivility. Maintaining accountability for one’s behavior can become increas­ ingly challenging when dealing with someone who may be defensive, angry, or retaliatory. Receiving destruc­ tive communication and translating it into an empa­ thetic response is an effective and authentic tactic. For example, if an actor is angry at the stage manager because a rehearsal is running behind, instead of meeting that behavior with anger, the stage manager can acknowledge the actor’s frustration and assure them that the schedule is being scrutinized daily. By validating the actor’s emo­ tions, the stage manager empathizes with them and lets them know their concerns have been heard, even if there’s no recourse to change the circumstances. Active, engaged listening followed by a distillation of the words and ideas of a conversation into a summarized response are examples of simple and powerful tools to promote dynamic and functional communication. Another aspect of authentic communication is asking for help, trusting teammates with different perspectives, and CoMMuNiCATioN

45

being open to not knowing an answer. A request for help can come in many forms, and stage managers can experi­ ment with the method most applicable to the current pro­ cess. For example, the following statement could be asked from one stage management team member to another, “I’ve experimented with several ways to word this email, and I need help choosing the most effective option. Please take a look and let me know what you think.” Or a request could be very technical, such as, “I’m preparing this ground plan for our taping session next week. Please check my math.” The person requesting help can be more effective by actively committing to hear the reply and inte­ grating the recommendations into their actions.

PUTTING PEOPLE FIRST It was eleven o’clock in the morning and I did not feel well. Sitting in the stage management office, creating the digital calling script so the ASM could learn the call, all I could focus on was the horrendous pain in my temples and the war that was waging in my stomach. What was going on? I  took a negative COVID-19 test, but my symptoms just got worse over the course of the day. The ASM was full of compassion, and made sure that I had plenty of fluids, even finding a pillow for me to rest my head on. We were in previews and there was no one else to call the show but me. What if there was some­ thing seriously wrong? I was having a hard time man­ aging my symptoms, my anxiety, and the responsibility I felt toward the production and the organization I was

46

CoMMuNiCATioN

working for. After a particularly tumultuous hour in which I vacillated between nausea and light-headedness, the ASM finally stood up and gathered my things. His tone shifted slightly, and although he was still very car­ ing, he assumed a level of candidness that I rarely saw. “Narda, I’m calling you a car, and you’re going to go to urgent care and get checked out. If anyone else was experiencing what you are going through, you’d be the first one to tell them to prioritize themself. You would also tell them that they were more important than any show.” I was speechless and also a little taken aback that the ASM had so accurately said what I had said to other people in my situation. I  finally acquiesced, and soon I was in a car on the way to the clinic. Because I was sick, we didn’t have a show that night. Calling the artistic director and the production manager to tell them that I couldn’t be there was one of the hard­ est things I’ve ever done, but their reaction was only to show concern for my well-being. This was the first time in my thirty-year career that I was the cause of a perfor­ mance being canceled. We knew that the first preview week would be a very vulnerable time for the show, and just two days earlier, we had to cancel because one of the performers was ill. For so many years I  had told performers and crew and other collaborators to put themselves first. The time had finally come to take my own advice and it was excruciatingly hard, but neces­ sary, and a huge learning moment for me. –NEA CoMMuNiCATioN

47

Conflict Navigation The stage manager’s ability to recognize their behavior related to conflict navigation and potential resolutions can enable skillful problem-solving. By diagnosing pat­ terns of conflict, the stage manager can identify alterna­ tive approaches and tailor those to the circumstances. If the stage manager is conflict-averse, avoiding the con­ flict could aggravate the situation. Alternatively, stage managers who are very comfortable with conflict may jump to mediation without taking the time to determine a strategic approach. Stage managers can proactively avert some conflict and destructive communication by initiating and sustaining difficult conversations. When used with self-awareness, this skill can transform the stage manager from reactive to responsive. Regularly opening uncomfortable conversa­ tions, particularly with the most challenging of collabora­ tors, can render those conversations a healthy and typical part of the process. One tactic is rehearsing the conversa­ tion in advance with someone who will provide feedback, allowing the stage manager to practice several methods of expression. The habit of openly and directly engaging with words and ideas others may not want to hear can elevate a stage manager’s practice and evolve their style.

Boundaries Establishing boundaries, guidelines that shape how oth­ ers behave towards an individual, serves as a vital stage management competency. Boundaries can be fixed,

48

CoMMuNiCATioN

meaning they are immovable, or fluid, if the stage man­ ager is willing to be flexible about the parameters of the boundary. They can be based on a combination of crite­ ria, including: • Physical: The person setting the boundary establishes how much access others have to their physical body and personal space. This term also applies to the type of architectural spaces where a conversation or work may occur. • Emotional: Personal determination by the individual setting the boundary of how and when others have access to their feelings and emotions. • Time: Setting clear markers for when an activity begins and ends, including extending or limiting time when necessary. • Language: Intentionally name and create a specific lexicon related to the production, clarifying what types of language are welcome during a process. Directly describing a boundary and actively requesting that it is honored can be useful throughout the produc­ tion process, and can be particularly effective during preliminary meetings when first impressions are made. Indicating when a boundary is fluid, as opposed to fixed, can also be a strategy for building trust. When collaborators are in conflict, the stage manager can keep boundaries intact by validating and empathiz­ ing without taking sides. The stage manager will need to decide whether to allow flexibility within their own CoMMuNiCATioN

49

boundaries to de-escalate the situation. In these scenar­ ios, one tactic is introducing a new time boundary, such as proposing a one-on-one conversation following the rehearsal, rather than addressing the upset collaborator during active rehearsal time.

Feedback Establishing a work culture where feedback is freely given and received can be an effective communication tool. Considered responses can contribute to open dia­ logue amongst collaborators, which can result in changes in service to the production. The PSM can model this behavior by using feedback models and language sys­ tems that establish a structure for sharing observations and requesting adaptation and change. This could be as straightforward as saying, “I  observed _______, and based on that, I recommend _______.” Feedback can also include moments of praise or gratitude that validate a collaborator and their contributions to the production.

Non-Verbal Communication Recognizing and responding to body language can be as important as spoken and written language. Reading facial expressions and observing closed versus open body language are useful tools, especially if there is no shared verbal language. The stage manager’s communication approach can be influenced by their awareness of their body language and others. This might include subtle fac­ tors such as facial affect and proprioception, the location

50

CoMMuNiCATioN

of the body within space. For example, crossing arms, legs, and other parts of your body can indicate the person is unavailable for communication. People are constantly communicating, through eye con­ tact, somatic and sensory systems, receiving information that remains untranslated into words. The ability to read a room and observe the silence and unspoken moments as much as the elements that make noise can be an impor­ tant aspect of communication. Following up with the performer who remained in the corner with crossed arms with a gentle question can be the turning point in sup­ porting that relationship. Remaining engaged sends a non-verbal message to the performers that the stage man­ ager is paying attention.

LISTENING FOR SAFETY I was still adapting to a company that integrated the­ atrical storytelling with circus arts. The show I  was stage managing had a contortionist, clowns, a highwire, and a flying trapeze act, all performed without a safety net or harnesses. I had to accept that the thrill of these daredevil stunts was because they were actually dangerous, and I had to create new ways to facilitate safety. Within the genre of circus, this meant checkingin with the artists each day, keeping their pre-show routines consistent, and preserving the environment to make it as dependable as possible. During one warmup, I  noticed a trapeze performer rubbing her wrist. CoMMuNiCATioN

51

I caught her eye, raised my wrist and pointed at it. She grimaced back, mouthing, “It hurts.” I  approached her, and we decided to cut two spins from her routine that evening. Another night, the tightrope performer didn’t chat with the stage managers as he always did when he pre-set his ropes. I took notice and visited his dressing room before the show. Indeed, he was having a hard time being present. I suggested that he perform his backup routine which was much safer. He agreed, and did so until he was ready to walk the ropes again. –NEA

Technology and Communication Technology platforms have replaced many tradition­ ally face-to-face forms of communication, and the stage manager’s role in shaping this aspect of the process is complex. Some of these choices will depend upon the tech-savviness and generational habits of the company. The platforms the stage manager defaults to and incorpo­ rates into their personal life may not always be the most effective options for the production or the stage manage­ ment team. The way in which the stage manager communicates with a collaborator is an important aspect of their style. Giv­ ing weight to the strengths and limitations of available platforms, whether the tone is formal or informal, and the confidentiality of the communication are all aspects to take into account in every interaction.

52

CoMMuNiCATioN

Taking a moment to consider who needs to be included, when, and on which platform is an important tool for effec­ tive communication. Excluding one or more people from any type of messaging can send an unintentional statement. Some conversations could benefit from in-person commu­ nication, where all parties can more easily understand the subtlety of the exchange and respond to body language. Stage managers model how they use technology for the company, and establish the boundaries of public, private, and personal communication within a production. Send­ ing an email to a group requires a different approach than a private interaction, which might be better served by texting. If the stage manager is having a personal inter­ action, such as discussing an unexpected health concern with a collaborator, an in-person conversation or a phone call might be more appropriate.

Language of Production The language of production that is inherent within the process is the shared knowledge of production culture. It applies in every production environment, even if various dialects are spoken in different disciplines. Stage manag­ ers who are well-versed in multiple technical production areas have the ability to communicate with collabora­ tors in any production-oriented environment and can ask clarifying questions to understand how each of them approaches their role. When the stage manager possesses an understanding of the system design, the process can run with enhanced CoMMuNiCATioN

53

efficiency. The system design, or show control system, refers to how the various computers that control the cues function and how they are subsequently operated by the crew. Mindfully attending to the nuances within the language of production can distinguish a stage man­ ager’s work by enabling deeper connection and mutual understanding.

THE INTERN The director had done the show several times, but my team and I were brand new to the play and each other. We were rehearsing the 25 scenes out of order, and he wasn’t happy with our lack of familiarity with the material. Two days before we moved into the the­ atre, he asked us to set for scene 20. In an effort to prove that I knew which scene was which, I called out the furniture items that were needed before checking the breakdown. I was wrong, and the director did not hesitate to say that he was worried about me teching the show. After rehearsal, I shared with my team how miserable I felt and how hard it was for me to memo­ rize the different scenes. Our intern spoke up, saying, “I know all of the scenes by number. I could help.” The assistant stage managers and I quizzed her, throwing out random scene numbers, and each time she knew the scene title, who was in it, and what furniture pieces were necessary. In tech we made sure she had a headset so she could prompt us. While the director never com­ mented about how swift we had become, it was clear

54

CoMMuNiCATioN

that he was pleased. I  wondered if my team thought less of me, but I reminded myself how important it is to fully utilize and depend on each team member, even those with the least authority, instead of being threat­ ened by their abilities. –NEA

Language of Teamwork Every stage management team develops its own language over the course of a production. Frequent and effective communication can establish a dynamic that is focused and highly functional. If team members aren’t encour­ aged or are unwilling to share authentically, this chemis­ try can be drastically compromised. For example, if a task is delegated, and the assistant stage manager isn’t given detailed instructions, and is then criticized for doing the task incorrectly, talking openly about that series of events can build trust and set a positive tone for future conversations. The stage manager is often in a position to clarify a state­ ment directed towards them or members of the company by repeating it back to the other person and then offering space for restating their intentions. The team can engage in multiple communication strategies, ranging from effec­ tive to destructive, during the production process. There are specific tactics that can impact collaborative chemis­ try and overall functionality. Resistance to feedback, new ideas, or the overall process, could be a signal that the CoMMuNiCATioN

55

stage manager needs to encourage directness and engage that collaborator in active communication. The PSM has the formal authority to set the tone and one method can be modeling how to open uncomfortable con­ versations early and frequently. By strategically engag­ ing in team-building and encouraging the team to share their personal and work goals, the PSM can potentially enhance the health and integrity of the stage management collaboration. Their diagnosis of the willingness of team members to engage, can empower them to encourage the participation of the entire team. Meetings in which logistical information is shared and triumphs and chal­ lenges are discussed can cultivate team morale and build trust. When the functionality of the team is discussed fre­ quently and openly, the potential for positive outcomes can increase. Specific and timely praise, encouragement, and constructive criticism can promote an environment of mutual respect and shared responsibility.

THE TYPO My new show was in pre-production, and my new ASM and I were both still working on other projects. We had never met in person, and had time for just an hour-long meeting to determine who would accom­ plish what before the first rehearsal. One day later, the ASM sent an email that egregiously misspelled the production manager’s name. I  was mortified and angry. It was the first time each of us had worked for

56

CoMMuNiCATioN

this theater and we had just made an unprofessional impression. I  pulled out my phone and composed a terse text. Before pressing send, I read it out loud, and paused. Reading every correspondence I write before sending is a habit I developed through years of inten­ tional practice. The ASM was just at the beginning of their career and might not have considered intention­ ally implementing systems to proofread their work. I  hadn’t discussed how important it was to me that our email correspondence and paperwork be correct and free of typos. In that pause, I realized that this was a step in building our team culture. I was establishing the method of communication and tone I  wanted to use when giving feedback. Did I  really want this to begin with an accusatory text? I erased it, jotted down a few words to help me open the conversation, and called my assistant. That was the first time the two of us compassionately exchanged constructive feedback. Our working relationship evolved into one of my most successful in terms of collaboration and func­ tionality, and that might not have happened if I  had just pressed send. –NEA

Crafting and Framing Questions Communication can be informed by the manner in which questions are formulated and posed. A  question framed directly can be much more effective than one that is open-ended or a question seeking validation. A direct CoMMuNiCATioN

57

question states exactly the request of the asker, for exam­ ple, “I need help with this paperwork. Do you have time right now” when an open-ended question is vague and without a direct inquiry such as, “Are you busy right now?” And a question seeking validation is fishing for a compliment or an acknowledgment of an investment of work that is asked like, “I’ve put so much work into this paperwork and I’m really stuck. Is there anything you could do to help?” Any member of a team has the ability to shape a ques­ tion in a manner that sparks useful information and tak­ ing the time to frame the question and recognize it as direct, open-ended, or in search of validation, can pro­ vide insight into the intentions of the person asking. For example, posing open-ended questions, including, “What do you think?” “How do you feel?” or “Thoughts?” can be less productive than beginning with an “I” statement that includes an observation, recognizes the influencing conditions, and then requests feedback, such as, “I  felt some tension in the room as we were blocking that dif­ ficult scene. Do you share that observation and do you have any insight or recommendations?” In addition to examining the method in which a question is asked, the setting and timing can contribute to the usefulness of the question. Important details include ensuring that the per­ son that is being asked is in a comfortable location and has time for the conversation. The stage manager’s sensitive and intentional framing of questions, with an awareness of timing, can support an open flow of information and assist in growing a healthy collaborative environment.

58

CoMMuNiCATioN

Indirectly- and Directly-Framed Questions Directness and clarity are caring methods of communica­ tion. One can communicate such care by the way a ques­ tion is framed, and information is requested. Examples of indirectly-framed questions that have been translated into directly-framed questions follow: Indirectly-Framed Questions Directly-Framed Questions Stage Manager to Director:

Stage Manager to Director:

How do you want tech to

I propose we set daily goals,

run?

and check in on breaks about our progress. Will this approach work for you?

Stage Manager to Director:

Stage Manager to Director:

How are you feeling about

I’ve observed some tension

that performer’s work?

between you and that performer, and I want to support cultivating a more open dialogue between the two of you. Are you open to having a conversation about how to proceed?

PSM to ASM: Why are you upset?

PSM to ASM: I heard the irritation in your voice when I asked you to run lines with the lead actor. Please share with me why this task is frustrating for you.

(Continued) CoMMuNiCATioN

59

(Continued) Indirectly-Framed Questions Directly-Framed Questions PSM to Director: I’m not

PSM to Director: There isn’t

sure we’ll be able to run

enough time to run that

that scene again before the

scene before the break. Let’s

break. 

take our break now and allocate ample time for this scene after the break.

ASM to Actor: Rehearsal

ASM to Actor: I’ve noticed

started ten minutes ago

that you consistently arrive

without you.

right at the start time or a few minutes later. Is there anything the stage management team can do to help support your prompt arrival? 

Economy of Language When the stage manager chooses their words carefully, using the fewest and most effective words to make their point, they are using an economy of language. This direct way of speaking is intentional and clear, without resorting to unnecessary filler phrases, such as sentences that begin with the word “if,” or regularly using phrases that might include, “like,” “you know,” “I  mean,” or “sort of.” Instead of saying “If you could take it back to the cross downstage,” for example, the stage manager could replace this request with clear direction, such as, “Thank

60

CoMMuNiCATioN

you for your patience, please take it back to the cross downstage,” or “Let’s work on that moment again.”

Tone The stage manager’s vocal tone is an important indica­ tor of their confidence and authority. Tone that includes a blend of directness and kindness can be an authen­ tic method of expression, reducing the possibility of misunderstanding. An awareness of vocal habits that undermine strong communication, such as upspeak, when a request or direction travels up the vocal register and sounds like a question, can contribute to effective communication. Collaborators in a position of power may feel more freedom to express themselves directly and to exercise authority through language. When a tone of disrespect enters into language, being prepared with a well-crafted response is an important mechanism for someone who has less power than those holding formal authority. Two responses could be, “I hear you and that was definitely a tough rehearsal,” or “I  value your opinion and let’s schedule a time to debrief.” The stage manager can be in a position to carefully orchestrate airtime, who gets to speak in meetings and for how long. There will be collaborators who require an invitation to join the conversation, while others will readily speak and assume they have abundant space and a level of agency regarding conversations. CoMMuNiCATioN

61

Strategies to guide equal representation of verbal expression include setting clear time boundaries, ask­ ing a question that invites a particular person to speak, being attentive to the body language of someone who is hesitant to speak and inviting them to add a com­ ment, and being familiar with who is an extrovert or an introvert.

Inclusive Language Inclusive language incorporates an expression of iden­ tity and is becoming more prevalent in the workplace. One way that stage managers can express the impor­ tance of inclusive language is by speaking in “people first” language. Referring to “a person with a disabil­ ity” is different than saying “a disabled person.” It is important to ask people how they want to be referred to and to ensure that when addressing a group, inclusive language is selected that speaks to the various given cir­ cumstances represented in that group. Some stage man­ agers are replacing the traditional tech and pre-show announcements that begin with “ladies and gentlemen” with more inclusive phrases such as “good evening or good afternoon.”

Conclusion The stage manager’s ability to adapt to every individual and group’s unique communication style and prefer­ ences can be shaped by experience and a commitment to being adaptive, contributing to effective and authentic

62

CoMMuNiCATioN

communication. Developing a collective mindset around communication enables the stage management team to navigate environmental factors, diverse circumstances, and unclear authority structures.

IN THEORY AND PRACTICE • Prior to your next show-related meeting or dis­ cussion, take a moment to reflect upon your most common communication strategies. Acknowledge the important role that your communication hab­ its play in the creative process. o Strengthen your awareness and implementa­ tion of the regular tools and techniques that you rely upon to connect with your colleagues. CoMMuNiCATioN

63

o Choose to consciously work with your exist­ ing communication patterns as well as incor­ porating a new practice from this chapter. Name the new technique, share it with the team, and write it down along with a few desired outcomes. o Observe when you can soften your communi­ cation style and when you could benefit from enhanced engagement. o Develop a method for opening challenging con­ versations and rehearse your opening line in advance. For example, “Chris, I  was unsettled by our conversation before rehearsal this morn­ ing and I want to debrief. Is this a good time?” o Mirror the communication patterns of the person or group by tuning into the communi­ cation patterns of those you are working with. o Modulate the level of detail that you provide when explaining a development or giving feed­ back. Some people will stop listening if there are too many details, while others will crave them.

THINK LIKE A STAGE MANAGER ABOUT COMMUNICATION • Practice one or more of the following language tools that may be unfamiliar to you. Note how

64

CoMMuNiCATioN

your communication style is or is not impacted by practicing the language technique: o Place the “I” before “you,” especially when giving feedback. o Consider using “could” (possibility) instead of “’should” (obligation). o Observe the contexts within which you add a qualifier such as “if” to a sentence. o Experiment with choosing another word for “if,” and notice how your communication style does or does not change. o Rethink the phrase “____ made me feel” and own your feelings by saying “I feel ____”. o Notice when you say what you don’t want instead of what you do want in service to a working culture of abundance over scarcity. o Replace “but” with “and”. o Use “I want” and “I need” with intention and purpose. o State that you are “speaking in draft” prior to expressing a new idea.

CoMMuNiCATioN

65

5

Calling a show as a stage manager refers to verbally com­ municating with technicians, telling them when to exe­ cute the cues that have been developed with the creative team in tech. While calling cues is a form of orchestrating a show, orchestration can also involve varied areas like time, transitions, and relationships.

Cueing Calling cues is the central way a stage manager orches­ trates. They translate the formative work from the

66

doi: 10.4324/9781003314639-5

rehearsal room into the performance space, transforming creative intentions into actionable cues, and layering in design elements. There is no singular way that this occurs. Whether in traditional or non-traditional processes, stage managers can watch, listen, and work to understand the artistic intent of a production so they can best place cues and achieve the creative vision. The relationship with each designer guides the cueing pro­ cess, and inquiring about a designer’s preferred method before tech allows the stage manager to plan accordingly. Some designers give stage managers cue numbers, place­ ments, and descriptions in pre-tech, while others relay this information during technical rehearsals, perhaps moments before the stage manager has to execute the cue for the first time. If a designer doesn’t communicate what a cue does, the stage manager can discern their intent by closely watching and listening. By adjusting to the differ­ ent working methods of their collaborators, stage manag­ ers can be more effective orchestrators. Incorporating the language that the creative collabora­ tors have used throughout the rehearsal period can be beneficial. If a beat has been referred to as an explosive moment, or a director has given a note that the lights activate the scene, this can be helpful for both the stage manager and the designer, because it reveals the objec­ tive and informs the design. Additionally, stage manag­ ers can use language with collaborators that incorporates motivations and intentions when discussing cue place­ ments. Using language that includes intent, rather than language that only references cue numbers, can improve orChESTrATioN

67

the communication and efficiency of tech as well as dem­ onstrate the stage manager’s understanding of the show. The way stage managers orchestrate cues can vary in response to the environment. In the theater, every detail is orchestrated during technical rehearsals and then executed during the run. In contrast, within the unpre­ dictable culture of corporate events, stage managers are often required to make unilateral decisions, which might include something as extreme as changing the order of the show, requiring them to execute the cues improvisationally.

WHEN CARS ARE THE STARS It was going to be quite a day. I was preparing to call an event that featured incredibly expensive race cars, a parachute jump, and a large orchestra, led by a celeb­ rity conductor. And all of this was taking place on Hollywood Boulevard, which had been shut down for the day. I had the foresight to request a team of three specific assistants, one who had overall deck organiz­ ing expertise, another who knew a lot about this type of race car driving, and a third who could anticipate and fulfill the needs of the conductor and musicians. At the beginning of our first and only set-up and rehearsal day, I encountered a familiar dynamic with some crew members, who assumed, based on my gender, that I  had very little technical knowledge about the show control system or the mechanics of calling a show.

68

orChESTrATioN

As we worked through the tech rehearsal, I discovered that the cars’ high-precision engines required a warmup period and were not cue-able in a precise way. It was also communicated that the celebrity status of the drivers meant that they, along with their pit crews, would decide when the track was safe and when they would hit the gas. I quickly realized that the process wasn’t going to go as planned, and that I  wouldn’t be able to provide the team with a second-by-second countdown for when each car would roar down the street. I  accepted that I  couldn’t control the cueing of the cars, so I  leaned into the predictability of the orchestra tempo and the time stamps of the video rolls. Ultimately, I  almost lost my voice trying to orches­ trate something that defied predictability and plan­ ning. But the team of three deck managers worked in different and specific ways to ensure safety, and we delivered a thrilling show for the audience. And the parachute jump, the one component I was most con­ cerned about calling, ended up being the most precise element of the show. –LP

Time Time has a natural place within the stage manager’s rela­ tionship to managing the production process. Chrono­ logical time is sequential and can be measured in seconds, minutes, hours, days, weeks, and years. The most orChESTrATioN

69

opportune moment or the right time to take action can be subjective. Chronological time is quantitative, while the opportune moment is qualitative. Stage management theory regarding time recognizes the responsibility to manage chronological time while allowing for essential moments or timing. In the course of any given rehearsal day in most traditional and non-traditional processes, keeping track of how much time has elapsed, when breaks are due, and speculating about how much time it will take to accomplish a task or rehearse a section of text are responsibilities soundly within the stage manager’s purview. Directors and stage managers constantly assess how much time any rehearsal will take and how much time they have left at any given moment. Inevitably, collaborators will feel like they don’t have enough time, or wonder where the time went. Time management is much more than just keeping track of the clock. Stage managers can strategically expand or contract how time is used to serve the production. When a rehearsal comes to a halt due to a strong differ­ ence of opinion, the stage manager could opt to call a break, regardless of whether a break is due, to dissipate tension and allow artists to briefly step away from the challenge before re-engaging. Likewise, within a break, stage managers attentive to the room may observe a director and performer privately discussing a moment. Their body language may convey that they need more time, and a stage manager can choose to extend the break and allow the conversation to proceed before returning to rehearsal.

70

orChESTrATioN

Day-to-day schedules rarely unfold precisely as planned, and introducing time restraints, after thoughtful evalu­ ation, may also be what a process needs. Sometimes, informing collaborators that there is only a specific amount of remaining work time left in a prescribed sched­ ule can lead to decision-making and closure. Applying time boundaries firmly and sensitively can be an effective strategy. Likewise, easing time boundaries can be effec­ tive. Stage managers can suggest disregarding part of a schedule to allow more time for the present moment. The impact of these decisions are weighed against the benefits of allowing more time for the immediate moment. Over the course of the rehearsal phase, the stage manage­ ment team records each part of the process. Transitions, monologues, scenes, and entire musical numbers will eventually be timed, as are whole scenes and acts. This information proves useful in many ways, such as generat­ ing run sheets for crew members who use time to know when to execute cues, or determining which scenes can be reviewed in a specific window of time. Carefully cit­ ing the time variance of a moment or scene is an effective maintenance tool, and many performers will adjust their performance accordingly if told that a scene or mono­ logue is running longer than it has previously. This strat­ egy is free of subjective opinion, and can be effective with performers who may be resistant to the stage manager’s feedback. In both traditional and non-traditional environments, every production requires prep time prior to each perfor­ mance. The crew needs to test equipment, move scenery, orChESTrATioN

71

and pre-set props, costumes, and scenic items. Performers warm-up vocally and physically, and sometimes require a fight or dance call. A speaker at a corporate event may need to review the stage layout or change their presenta­ tion. Stage managers frequently determine the hierarchy of the needs of preparation, especially when there are competing needs.

NEGOTIATING WHO AND WHAT IS MOST IMPORTANT The electrician came to the stage management office to tell me we had two burnt out lights. He had discovered the problem during dimmer check, and replacing them would require a lift to be brought onstage. I  imme­ diately got up to see for myself where these lights were and how often they were used. Bringing the lift and replacing both lamps meant the stage would be unavailable as a warm-up area, and the actors in this marathon-length Broadway play had a very specific physical and vocal warm-up that could only be done onstage, because of the space required. This was essen­ tial in aiding the mental and physical stamina needed to sustain the long performance. I considered several solutions including replacing one lamp that day and waiting to do the other one the next, not replacing either lamp at that moment and scheduling a specific work call that would not impact the cast warm-up, or opening the house late to allow for both the lamp replacements and the warm-ups. Several of these ideas

72

orChESTrATioN

had financial implications, because they impacted the crew’s work hours, and I  discussed all of them with the company manager. We decided to change one lamp in that moment and save the other for the next day. The cast had abbreviated warm-up time onstage, and the overall design was not compromised with just one lamp out. Everyone’s needs were considered as time was deliberately orchestrated. –NEA

Timing Determining appropriate timing is complex and requires the consideration of explicit and implicit information, sometimes communicated with non-verbal indicators, such as body language or tone of voice. For example, gaug­ ing the right time to discuss a challenge with a director or understanding the timing of a scenic transition in relation to where the lights are called. This level of orchestration occurs repeatedly and is informed by experience and instincts. Stage managers influence timing for all sorts of situa­ tions, including when to take a break, initiate a conver­ sation, resolve conflict, and even when to stop a show. Sometimes the stage manager can individually identify an excellent time to take action, while in other scenarios, they may ask team members their opinion. Stage manag­ ers often have to inform collaborators that the time they want or need is not available, in order to move the process forward rather than repeatedly focus on one moment. orChESTrATioN

73

SLAM DUNK The corporate event had been intricately planned, plotted, and rehearsed. The demos for this well-known tech company had been tested, and the room was full of press. The backstage was made up of production staff and an army of engineers who had worked on these products for years. Part of the program involved a live feed from a basketball game that would give the press a virtual reality courtside point of view. The CEO of the company had made it halfway through the content when we were supposed to cut to the game. It was halftime, though, so there was no action to be seen. We had known this was a possibility, but we didn’t know how he would respond. He said, casually, “We’ll come back to the game later.” Casual for him, chaos for everyone on headset, who scram­ bled while remaining absolutely attentive to the cues in progress. We quickly mapped out a series of cues on the fly that could take us to the game whenever the CEO said he wanted to see it, while we orchestrated the rest of the presentation. Planning and rehearsal will get you in the game, but adaptability will often be what wins it. –LP

Transitions Transitions are progressions from one situation to another. This could refer to shifting from one part of the

74

orChESTrATioN

rehearsal day to another, or changing between scenes or segments of a production. The PSM calls transitions in tech and performance, while the stage management team facilitates them on the deck. Intentionally orchestrat­ ing transitions, during all phases of production, requires time and energy that results in paperwork that relays the intent to the rest of the company. There are innumerable transitions that occur on a daily or even hourly basis as part of any production process. Stage managers are continually responsible for orchestrating transitions seamlessly and effectively with aesthetic acu­ ity, including coordinating the technical elements that will unfold from moment to moment. Consideration and planning surrounding each transition can allow the stage management team to foresee potential issues, address various options and solutions, and determine who will be impacted and in what way. Since change can be dif­ ficult for even the most seasoned professional, commu­ nicating the details of upcoming transitions before they occur can clarify expectations. This strategy is one of the most effective tools stage managers use to orchestrate transitions. A NEW PAIR OF PANTS It was showtime, and one of our dancers was missing. I asked the ASM to go to the dressing room to find out what was going on. They walked directly into a tense conversation between the performer and the associate costume designer. Instructions had been left by the orChESTrATioN

75

costume designer for the dancer to wear a new pair of pants in tonight’s performance, and the performer was hesitant about it. It was only our third preview, and all the design elements were in flux and changing with each performance. The associate designer was losing her patience, and she told the dancer that it was impossible to know if the pants would work until he tried them in performance. Over the ASM’s headset, I heard the dancer question­ ing the fabric’s ability to stretch, given the choreogra­ phy, but it was clear he wasn’t saying why he did not want to wear the pants. I could feel my own anxiety growing, and I was frustrated because we could have avoided this scenario by having the dancer work in the new pants earlier in the day. I called the ASM, who put me on speaker, so I could communicate directly with both the dancer and associate designer. I acknowledged and validated their emotions, and I asked the dancer if he was worried about getting hurt. He confirmed that was the case, so I made the decision that the dancer would wear the pants he had worn the day before. I also told the associate costume designer that I would accept responsibility for the decision, and I asked the ASM to make a note that we must rehearse the dancer in the new pants the next day. If the dancer had initially told the associate he was afraid of hurting himself in the new garment, would there have been less frustration? If the costume design

76

orChESTrATioN

team had shared with the stage management team that they wanted to try new pants for this dancer, one of us would have flagged that as something to rehearse. In two hours, I would be the one responsible for commu­ nicating this entire situation to the costume designer and director. My personal directive was to do this accurately, with care, and without commentary, blam­ ing, or shaming. –NEA

Relationships Within the production process, stage managers are well served by consciously orchestrating relationships. This includes one-on-one connections between themselves and others, and implementing strategies that enhance the group dynamic and contribute to the quality and effec­ tiveness of the overall collaboration. By assessing the power dynamics that are present in each production process and organizational structure, and how they contribute to how collaborators behave towards one another, the stage manager can better orchestrate and negotiate relationships. In a traditional process, the director often has the most status in the room, but in tech, there are moments when a designer may have more influence. In opera, however, the conduc­ tor has more status than they do in musical theater, and in the world of corporate events, the end client has the final say, rather than the executive producer. Studying orChESTrATioN

77

and understanding the alliances and loyalties that exist between collaborators will assist the stage manager in navigating and building these relationships. Whether the stage manager approaches these relationships in a formal or informal manner is an expression of their style.

DYNAMIC DISAPPOINTMENT It wasn’t going to be easy. I was collaborating with a foreign director and American design and stage man­ agement teams. We had just one day of tech in the the­ ater, the aesthetics were ambitious, and the timeline was near-impossible. The director’s background was in film and opera, so I explained the differences between a traditional theater tech and an opera tech, which has specific rehearsals for lighting, orchestral work, or stage direction. He was resistant, but I responded with patience and held my ground, acknowledging how different this would be from his previous experi­ ences. As I rehearsed cues without the performers, he continually expressed his anxiety and concern. I made it clear that this was our working structure, and that while it was out of his comfort zone, we would make it work. The performers were flexible, so I  encour­ aged the director to give notes when we worked on cues. We ultimately created a hybrid method that was strictly regulated by the intense time boundaries and working guidelines of the theater. Still, the director was disappointed with the process, and I had to accept

78

orChESTrATioN

that there was very little I could have done, within the framework we were in, to meet his expectations. –LP

Conclusion Stage managers orchestrate many aspects of the produc­ tion process daily. Intentionally considering orchestra­ tion through various theoretical frameworks can provide effective management that reflects a stage manager’s style and is in service to the unique production.

IN THEORY AND PRACTICE • Stage managers can engage their collaborators in the artistic intent of a production so they can best place cues and achieve the creative vision. These are questions that a stage manager might ask a orChESTrATioN

79

director or designer during the cueing process. Consider some of your own. o Where do I pull the focus down? o I feel that lights and sound are a combined event, what do you think? o What initiates the next transition? o Does the moment conclude with the dialogue or the scenic shift?

THINK LIKE A STAGE MANAGER ABOUT ORCHESTRATION • Determine areas in which you actively antici­ pate the needs of the production, and identify the tools you will use to orchestrate those needs as they arise. Conversely, are there aspects of the production that you could let unfold without orchestration? • How is your orchestration methodology in align­ ment with your style? What aspects of your style are essential for you when orchestrating?

80

orChESTrATioN

6

Culture is often defined as a specific group of people or geographic location, although it actually refers to much more than the origins of each collaborator on a project. Every production has its own unique culture, and there are existing and emerging sublayers that impact how a collaboration unfolds. Established rules and structures typically govern the traditional theatrical production process. In contrast, cultural components and values that may be more implicit than overtly well-established can impact an unregulated process. Diagnosing and fostering doi: 10.4324/9781003314639-6

81

specific cultural competencies can lead to rich collabora­ tion and mutual respect. Recognizing the different facets of each culture, and creating an environment where all viewpoints are recognized, valued, and respected, is an important tool for the stage manager. In this way, they become a cultural curator, translating through more than language, and intentionally creating an environment that enables collaborators to connect authentically and work in service to a cohesive project. Research and preparation allow the stage manager to understand the collective expectations of the process and backgrounds of their colleagues. Questions may arise when contemplating the production from a cultural standpoint. Does the process demand a detailed approach or a bird’s eye view perspective? How much authority does the stage manager hold when circumstances become contentious? The capacity of the stage manager to diag­ nose the cultural dynamics that frame the process shapes the workflow of a production. The ability to distinguish between formal and informal systems and models of authority will also factor in the management of produc­ tion culture.

Four Layers of Culture Stage managers constantly navigate and translate the demands inherent to collaboration across multiple cul­ tures. Often responsible for designing and shepherding a unique cultural environment for each project, stage man­ agers frequently attend to the needs of each collaborator

82

CuLTurE

while ensuring that the overall culture is considered. There are four specific cultures that can potentially impact the workflow and production process. They are: 1. Interior 2. Discipline 3. Production 4. Geographic

Interior Culture Interior culture is the mindset that informs the strategies and decision-making process the stage manager uses. It is formed by habitual thinking and behavior that is usually shaped by upbringing and early experiences. Resistance to new ideas or concepts, especially in an environment CuLTurE

83

that includes previously unfamiliar cultures, is often based upon an interior culture that is unconsciously rigid or inflexible. An examination of the origins of one’s inte­ rior culture and prevalent working habits can assist the stage manager in remaining collaborative, inclusive, and connected to the highest goals of the production process. An awareness of the interplay between receptiveness and resistance, as well as a focus on the present challenges, as opposed to playing out past practices onto future out­ comes, is one of the most productive mindsets a stage manager can adopt. Different environments demand unique approaches, which are often a series of active choices that are informed by culture. A willingness to adapt, especially to unfamil­ iar environments such as international or non-traditional work, and employ a skill set that supports a flexibility of attitude and practice, are some of the greatest attributes that a stage manager can learn. A strong interior culture and the willingness to take risks, being unconcerned about the judgment of others, can grow a strong sense of resilience.

Discipline Culture The working styles of various collaborators are shaped by the nature of their disciplines. For example, sound designers have different needs than set designers, and although all collaborators would ideally be in service to the higher good of the production, the stage manager must negotiate a hierarchy of needs that is influenced by

84

CuLTurE

multiple production factors. Workflow, communication style, and technical skills will impact how different col­ laborators interact with a stage manager. Design disci­ plines that require fabrication and construction such as scenic and costumes have different pre-production needs than lighting, sound, and projection, where much of the work takes place during tech. Adapting language and translating across disciplines are valuable strategies the stage manager can use. Using a malleable vocabulary customized to the collaborators is a useful skill. When disciplines such as theater, dance, music, and events meld together, and expectations about the process are unpredictable, the ability of the stage manager to translate can become the primary role. The technical process in the traditional theater is extremely regulated, and a musician entering this world for the first time could find the system disorienting. In this situation, the ability to translate body language and unspoken tone to decipher the emotional state of rehearsals can cultivate common ground.

COMFORT ZONE I turned down the job when they called looking for a stage manager with a theater background. I  had never stage managed dance, or even seen very much of it. The idea of joining a company led by a worldfamous dancer was intimidating and felt beyond my capabilities. I was finally convinced after watching the CuLTurE

85

company perform. Even though the lead dancer was demanding, he was a perfectionist who expected the same from everyone around him, and, at that point in my career, I  admired him for that. His discipline shaped our work culture, and I  was continually ner­ vous about meeting his expectations. Then came the moment when I called a blackout incor­ rectly in the dress rehearsal. It was a piece of classical music that ended with an erratic series of beats, and I  called the cue two beats early, based on the chore­ ography of the famous dancer. It was an embarrassing moment, even in dress rehearsal, and he stormed over to me. I had been watching him instead of counting the music, and he emphatically told me that he needed to trust that I was following the music in case he was off. It had never occurred to me that he could be anything other than perfect. I  learned a valuable lesson about cueing and how to discern what to follow and when, and from that day forward, I followed the music at the end of that piece. –LP

Production Culture Diverse environments such as theater, opera, dance, music, and live events all have unique cultural dynamics and expectations. Working across different production cultures demands the stage manager employ an adaptive approach that allows them to enter a room, build rapport rapidly, and begin leading the process with the available tools

86

CuLTurE

and given circumstances. For example, corporate events require a condensed ability in diagnosing the environ­ ment, and connecting with the crew effectively is essential to the sometimes improvisational method of the process. Whereas in opera, the process is highly structured, every collaborator’s role is defined, and the formal authority structures determine many aspects of the production.

Geographic Culture The other cultural factor to consider is the most obvi­ ous, the geographic background of the collaborators, and where in the world the work is occurring. The diversity of geography could be as straightforward as an interna­ tional tour with a company based in the United States, or as complex as making a devised piece with collabora­ tors from multiple nations, who may not even speak the same language, and taking it on tour in additional foreign countries. Stage management across geographies requires a sophisticated level of adaptation and employment of technology, and stage managers who possess a high level of emotional intelligence are particularly well-equipped to engage with groups who are influenced by multiple geographic cultures. This process could even require learning phrases or calling cues in a foreign language. There is an art to working with translators and building rapport with someone who may be fluent in the geo­ graphical language while not speaking the language of production. In situations where a request from the stage manager has been translated incorrectly, there may be a CuLTurE

87

misunderstanding based upon the translation. In those moments, the stage manager may not be able to resolve the conflict and needs to accept the outcome of the con­ versation. The balance between translation and the over­ all needs of the production is an ongoing aspect for the stage manager to navigate when diverse geographic lan­ guages impact the production.

WHEN CULTURE PREVENTED ME FROM STAGE MANAGING I was on tour with a new opera that had premiered in the United States and was making one stop in cen­ tral Europe. I  researched the venue, the local cur­ rency, the food, and overall logistics. The day we arrived, a male cast member and I, both of us black, ran an errand. Several men shouted to me as I passed them on the sidewalk and while I  didn’t understand what they were saying, it was clear they were making lewd comments. One man got very close, putting his hand around my waist. The cast member pulled me away from him and we hurried back to the hotel. In my research, I had failed to investigate how AfricanAmericans were perceived in this country, and how black women were hypersexualized. I explained what happened to the other two black female cast members. Walking anywhere alone was out of the question, so we created systems to ensure that none of us would be by ourselves when we went back and forth between the hotel and the venue.

88

CuLTurE

The theater proved to be just as challenging as the street. It was clear that the crew was not going to take my direction. Still, it was my job to supervise loadin and tech the show, so the white male director and I determined that those phases would have to appear to be unilaterally led by him. I told him what needed to be done and how, and then he, with the help of the interpreter, directed the crew. Although it appeared to the local crew that the director and translator were in the lead, by adapting to the culture we were in, we were able to remain committed to realizing the production. –NEA

Diagnosing Culture Stage managers will find that at the outset of any pro­ cess, focusing on diagnosis in the pre-production phase will serve them more effectively than any other tech­ nique. Innately understanding how a collaborator’s background and training shapes their work allows the stage manager to gracefully move between disciplines. The crossover between interior, discipline, production, and geographic cultures can create an extreme set of challenges for the stage manager. For example, when a solo performance artist works with artists from dif­ ferent genres, each person sees the ingrained nature of cultural techniques differently. If the process is more homogenous, there are many cultural aspects that are taken for granted. Moments of connection and an CuLTurE

89

ability to ask the hard questions are important for the stage manager to cultivate as the unique production culture evolves. An examination of the authority structure that is pres­ ent within the collaboration, particularly the distinc­ tion between formal and informal authority, assists in diagnosing the culture of the production. Awareness of how intersections of trust and authority influence rela­ tionships and work environments can lead to a highly effective collaboration. The stage manager’s methods for building trust in a collaborative environment are vital to the various cultures’ functionality. The power structures inherent in a production influence trust and the ways stage managers resolve conflicts, manage time, and inter­ act with colleagues.

CULTURE CLASH I was working on an intricate project in Asia, and tech couldn’t begin until several pieces of freight arrived. There had been conversations in the previous week regarding how to handle the delay if it occurred, as well as how the timeline change would impact tech. Then, immediately before a production meeting, I was told that a critical piece of equipment would definitely be delayed in customs, information the rest of the group did not have. In response, I  chose to lead the meeting in a direct and traditionally assertive American style. This went

90

CuLTurE

against the atmosphere of conflict avoidance that was the culture of the theater company. Even though I had been told not to bring up the delay, I asked an openended question in an indirect fashion: “I understand a delay in customs could impact our schedule.” When the response was silence, I  chose a more assertive approach: “If there is a delayed arrival, it will push our first tech back by a full day, and possibly our first performance.” This caught the attention of the director, and the conversation shifted to brainstorming multiple stra­ tegic options that could be employed. I  risked dis­ respecting the people and the culture in which I was working, but I  also knew my communication style was one of the reasons the director wanted me on this project. –LP

Cultural Capabilities There are multiple ways the stage manager can navigate cultural challenges. Here are four approaches that can be incorporated into any environment, ranging from the strictly regulated to the most experimental. 1. Establish Articulated Expectations 2. Engage in Translation 3. Build a Universal Language 4. Grow the Collaborative Culture CuLTurE

91

Establish Articulated Expectations Communicating and expressing expectations allows the stage management team to plan and adapt to the process as it unfolds. By clearly articulating an expectation about time management or task completion, the stage manager gives another collaborator or team member the informa­ tion they need to meet a deadline or fulfill a request. An unexpressed expectation can easily go unmet, potentially leading to disappointment or conflict.

PACK YOUR SLIPPERS I’m walking through a green tea field in Japan, dis­ cussing the show I’ve remounted repeatedly with my student assistant, who is working on it for the first time. I’ve prepared him for some practices that may be unfamiliar to him, including the Japanese tradition of removing one’s shoes before entering a private or sacred space, such as an entirely shoeless theater. I had told him before we left, ‘pack your slippers.’ We’re adapting the production to fit into an oval space, and the student ASM enters the space with a lot of energy, ready to get to work, wanting to iden­ tify the center line and start taping the floor. I whis­ per that we can’t do that yet. First, we must say our greetings, and put our food gifts on the shared green room table, labeling who delivered which treat from different parts of Japan and around the world. I emphasize that slowing down is what this first day

92

CuLTurE

requires, and there will be time to map out the stage and prepare the space. When we get a minute to talk privately, I remind him that there will be many times when, in the US, I would have sent him to someone in higher authority and positional power. In this working scenario, I’ll take the lead with certain requests and updates. I’m adhering to the work­ ing protocols of this culture, which are deeply embed­ ded in tradition. My decision to work this way is based on my knowledge of working in this country effectively, and isn’t a reflection of how much I respect his work. He doesn’t totally understand, and he has an impulse to feel that I don’t trust him. In fact, I tell him that the oppo­ site is true. My strategy holds us up as a team, and indi­ cates that even though we’re Americans, we understand that our way of working can be flexible and in response to the production’s needs and cultural expectations. –LP

Engage in Translation The stage manager’s ability to translate between col­ laborators and across cultures serves the higher good of the process and ensures that the aesthetic demands are being reasonably met. Once the overall stakes of each collaborator are transparent, the stage manager’s approach can influence the chemistry of the process. Disagreements are frequently rooted in misunderstand­ ings that are based in expressive language, and language CuLTurE

93

barriers can prevent collaborators from understand­ ing one another. The stage manager is uniquely poised to identify this confusion and serve as the translator between collaborators.

Build a Universal Language In some productions, a unique language develops in the rehearsal process that could include a shorthand that connects collaborators who do not share a verbal or geographic language. This could refer to nicknames for scenes, a set of phrases for holding, resuming, and repeat­ ing sections in rehearsal, or a pidgin dialect that com­ prises components of the languages of the participants.

Grow the Collaborative Culture The collaborative culture is the unique environment cre­ ated by a group of people embarking on a performative project and is based on disparate elements merging into a cohesive whole. The starting point for establishing a collaborative culture involves identifying the production standards that already exist. In unregulated environments governed by organic struc­ tures, such as certain types of dance, music and intercultural processes, the stage manager establishes how much struc­ ture is necessary for a creative process. A culturally adept stage manager will strategically engage with group values, providing communication and navigational tools for all collaborators. The stage manager employs these structures first and they can spread quickly amongst collaborators.

94

CuLTurE

When the stage manager establishes a culture of trust, the entire group is free to perform at a highly-functional level. Research and knowledge of geographic culture can also assist the stage manager in building trust within a company. Many countries have culturally derived rituals that a foreigner won’t or can’t fully understand, but which can be critical to performative success. Paying particular attention to appro­ priate customs and dress, and respecting cultural traditions, can allow an uncomplicated integration into a local culture.

Conclusion The savvy stage manager layers in culture throughout every project, integrating and expanding their skill set and approach. They embrace the backgrounds and values of differing cultures to connect with collaborators, aesthetics, and storytelling. Using an authentic synthesis of all levels of culture and a deep engagement with the intention of the process, the stage manager can cultivate an environment that supports the collaborative purpose of any production.

CuLTurE

95

IN THEORY AND PRACTICE • Think about a current or upcoming project, and ask yourself the following questions to diagnose the cultures: o Does a majority of the group identify with one culture over another? This can apply to their training, their culture of origin, and other factors. Actively think about this question in relation to all categories of culture outlined at the beginning of this chapter. o Reflect on your interior culture, and exam­ ine the patterns of how you think and talk to yourself. How do your habitual thoughts and patterns of self-talk impact you as a collaborator? o Consider which cultural capabilities you might employ during your current or upcom­ ing production process.

THINK LIKE A STAGE MANAGER ABOUT CULTURE • Before you begin a new project, determine if your collaborators have any shared histories. • What are your expectations for this process? What are the group or individual expectations and metrics of excellence? Examples could include

96

CuLTurE

sold-out houses, income exceeding expenses, good reviews, or the realization of a project that has been gestating for many years. • What is the predominant spoken and written language?

CuLTurE

97

7

Ethics, generally considered the principles that guide a society or group, are integral to effective and adaptive stage management. Navigation systems informed by ethics can be incorporated into many different production areas, such as decision-making, planning a course of action, and addressing problematic behavior. Honesty, respect, trust, transparency, civility, compassion, and concern for safety are among the primary values that stage managers can prioritize when acting in alignment with their ethics. In their work, stage managers are constantly challenged by

98

doi: 10.4324/9781003314639-7

dilemmas that require them to make decisions. Not every quandary is straightforward, and when a stage manager is confronted with such predicaments, the way they make their decisions is partly due to their own sense of eth­ ics. Every ethical dilemma is different, decision-making can be complex and multifaceted, and resolutions can be messy and unsatisfying to some, if not all, of the parties involved. Knowledge of ethical frameworks can provide methods to approach these situations and strategies to assist the stage manager in making their decisions. Many stage management teams organically engage in conversa­ tions related to ethical practice, even if those conversa­ tions may not be labeled as being about ethics.

Ethical Frameworks There is no single way to consider ethics, and there are many schools of thought, referred to as ethical frame­ works, for approaching a decision-making process. An ethical framework is a series of guiding principles designed to inform or reason through an ethical dilemma. While many ethical frameworks exist, the five described below can be useful to stage managers. They are: • Utilitarianism. This model places the needs of the greater good above the individual. While these prin­ ciples date back to ancient Greece, John Stuart Mill published Utilitarianism in 1863. • Ethics of Care. This framework, developed by Carol Gilligan in the 1980s, values care as a virtue and has EThiCS

99

four tenets: Attentiveness, Responsibility, Compe­ tence, and Responsiveness. • Emergent Strategy. adrienne maree brown’s model of collaboration that centers on embracing change, the big impact of small actions, the importance of inter­ dependence and decentralization, and employing nature’s models to interpret and embrace complex group dynamics. • Servant Leadership. Robert K. Greenleaf’s model posits that the primary goal of a leader is to put the needs of those they lead first. Service Leadership is an alternate way of referring to this ethical framework that does not employ ‘master servant’ language. • Asset Framing. Trabian Shorters’ framework asserts the power of acknowledging the assets and aspira­ tions of people before focusing on their challenges. Stereotypes can be dismantled by naming the pow­ erful role that the perceptions of others play in the narrative stories of our lives. Each of these ethical frameworks is a collection of ideas, and can be helpful to incorporate facets of different per­ spectives into a cohesive individualized framework that prepares one to make decisions and respond to dilemmas when they present themselves. SUBVERSIVE SCRIPTING “I’m going to start a document that contains the ideas we’ve been working with,” I  said, intentionally not

100

EThiCS

referring to this as a script. “I’d rather you didn’t,” replied the lead performer, a world-renowned musi­ cian, solo artist, and the producer of the piece in ques­ tion. “I  don’t want to restrict the evolution of the piece.” As we prepared for tech, the designers were demand­ ing documentation that would guide the cueing pro­ cess. I  was under mounting pressure to generate a script, and I  eventually did so in secret. While I  was working on it one day, the lead walked in, caught me, and stormed out of the office. I was in a panic and in fear of losing my job. But a few minutes later, she came back in, smirking. She took a breath and told me that the script was useful, that it could become part of our process, with the condition that changes would be constant. Then she sheepishly asked if she could have a copy. Later that night, we reached a solo section of hers that none of us had wit­ nessed in rehearsal. The music was breathtaking, and we all stopped and listened, truly experiencing the story for the first time. –LP

Core Strategies When stage managers are faced with ethical dilemmas, careful consideration of the structural guidelines asso­ ciated with the circumstances is essential. These may include the dynamics of  union and house rules, human EThiCS

101

resource directives, administrative standards, and estab­ lished practices. Stage managers can also use their instincts and core values to assist in decision-making and choos­ ing a course of action. There are many different kinds of ethical dilemmas, and what follows are some that stage managers most frequently encounter. They are: •

Identity

•

Safety

•

Confidentiality

•

Language

•

Incivility

•

Intimacy

COVID-19 COLLABORATION I’m calling my first live event with a fully in-person crew since the pandemic began. I’ve worked on and off with this crew for years, and we know each other well. We trust each other, and we’ve been collaborat­ ing remotely in the hybrid production culture that came out of COVID-19. This was our first time seeing each other in months. We’re pre-recording several components of a show that will be broadcast. It includes some live elements, but there is no live audience. So much of my iden­ tity as a stage manager is centralizing the experience of the live audience, with an eye for the broadcast

102

EThiCS

and the recordings. In the post-2020 landscape, and in the hybrid experience where there isn’t a live andin-personaudience,I’vehadtoredefinemyrole,and that means sometimes colliding with others who are also uncertain of their updated job descriptions. In this case, the camera director is new to the group, and has an alpha approach to his work. He’s not inter­ ested in the feedback that I’m trying to provide to him, which is based on my long-term working relationship with the show’s creative director. I’m uncomfortable with how this person speaks to me, and some of the other crew members hear his tone, and see that he’s not acknowledging what I have to say. I ride this out with as much equanimity as possible, and I  speak to the technical director about my experience after the show. After so many years of being not heard in cer­ tain circumstances, I’m willing to use my authority, and my comfort within this group, to advocate for myself. –LP

Identity Stage management is influenced by the given circum­ stances or identity of the stage manager and their collab­ orators. Visible factors such as skin color, age, physical ability, or one’s first language may be easily identified. Other attributes, like immigration status, survivorship from illness or abuse, disability, relationship status, EThiCS

103

sexual orientation, gender identity, and economic class, may be less evident and only apparent if this information is disclosed. The stage manager can recognize and incor­ porate public and visible circumstances into the process. Each person discloses private and personal aspects of their identity based on specific conditions, such as where they are, who they are with, and their comfort level. Stage managers can only integrate this information when it is shared with them. Each collaboration and production experience can be an occasion for stage managers to consider how their own circumstances will impact their role as a leader and stage manager. When the stage manager’s identity is repre­ sented in the material being produced, the entire stage management team can proceed with care and awareness to support healthy collaboration. There are strategies avail­ able for navigating challenging content, including mind­ ful breathing, taking a break, speaking with the other members of the stage management team, or intentionally separating the material from oneself. Stage managers can carefully navigate how to care for themselves regardless of the material so they can remain engaged and support­ ive of the ultimate goal of realizing the production.

Safety The stage manager’s responsibility to prioritize safety will be influenced by the environment, cultural expecta­ tions, and the stage manager’s ethics and core values. In a traditional union-regulated process, the stage manager

104

EThiCS

has a contractual obligation to follow guidelines, proce­ dures, and protocols when questions regarding physi­ cal safety arise. Union-regulated work provides several options to remedy an unsafe environment. For instance, AEA regulations clearly state how steep a raked stage can be or how much haze can be used in a performance space. There are protocols about how high off the ground a per­ former can be before railings or safety harnesses come into play. Representatives from AEA frequently see pro­ ductions within their jurisdiction to determine safety risks and ensure proper standards are met. There are ave­ nues for union members to protest if these guidelines are resisted or ignored. In a non-traditional or unregulated environment, the stage manager often must decide how to address safety issues and exercise authority. One potential strategy is speaking with collaborators about a safety concern and whether safety measures can be implemented while retaining the aesthetic integrity of the show. This inclusive approach has the potential to produce positive results while mini­ mizing defensiveness from impacted team members. While the stage manager may not have a legal obligation to address the emotional safety of the production’s partic­ ipants, their ethics will shape how they do so. Production processes that are civil, communicative, equitable, sup­ portive, and free of harassment and hostility can create an environment where team members feel safe, and collabo­ ration and creativity can thrive. Additionally, many pro­ ductions have implemented anti-harassment policies to protect individuals from bullying or emotional distress, EThiCS

105

and stage managers can invoke these policies when navi­ gating these behaviors among company members. In any environment, the stage manager can experience an ethical dilemma regarding safety. Those in higher author­ ity could dismiss these concerns, or the stage manager’s recommended adjustments could be ignored, regardless of the hazard level. In situations such as these, the stage manager will need to determine whether to accept the dangerous circumstances, and if so, how to ethically do so. Egregious safety practices can challenge a stage man­ ager’s core values and require them to examine how to remain in alignment with their ethics.

JUDGMENT CALL The responsibility to decide when to stop a dress rehearsal or performance strongly weighs on the stage manager when a safety issue is present. In a dress rehearsal for a regional theater production, a few stunts led to a dangerous environment that had to be closely orchestrated and regulated once the show approached performances. In preparation for our final dress, I  had a conversation with the director about one moment and we disagreed about the plan if the situation became unsafe. I was already agitated at the director and held the firm opinion that they did not care about the safety of the performers. I  also felt a lot of pressure to do a dress rehearsal without stop­ ping. When we reached the dangerous moment in the

106

EThiCS

dress, the safe choice would have been to call ‘hold’ and bring the performer, who was suspended in the air, to safety. However, fear of retaliation from the direc­ tor overwhelmed me at that moment and I  pushed through to the end. The performer hit her head and the director accused me of ruining the moment for the rest of the run. And retaliation from the director was inevitable no matter my choice. This experience has informed my decisions about safety for years to follow. I slow down and check in with myself about whether I am making a fear-based judgment instead of choosing what is best for the health of the performers and overall production. My poor decision in the situ­ ation described here gave me great insight into how much I need to own my authority regarding safety and engage as an advocate, especially when the production transitions into tech and performance. –LP

Confidentiality Stage managers can draw upon guiding principles when choosing how to approach confidentiality issues. Open communication can establish expectations, and enables the stage manager to incorporate ideas such as transpar­ ency, consistency, and discretion into their work. When stage managers are transparent about how information will be shared with other collaborators or the produc­ ing organization and whether the information is public, private, or personal, they can decide what to do when EThiCS

107

faced with questions about confidentiality. Trust can be built when the stage manager maintains a collabora­ tor’s confidentiality and when the stage manager informs a collaborator that certain information will be shared. Stage managers can take a straightforward approach, and clearly state to company members at the beginning of a process what information will be kept confidential and what will be shared. In traditional theater, daily events are regularly reported to the producers, including lateness, sickness, and inju­ ries. Stage managers typically don’t share personal cir­ cumstances with producers, such as bankruptcy, divorce, or family illness. Stage managers can be confidantes, and members of the company could discuss a break-up or a death in the family with them. Discerning if, when, to whom, and how personal factors can be disclosed is a complex scenario that requires careful consideration within the ethical theories practiced by the stage manage­ ment team. For instance, an actor may begin regularly missing shows, and they could tell the stage manager that their long-term partner is in hospice. The stage manager might want to give the producer a reason for the actor’s multiple absences, and could ask the actor if they can share the details with the producers. There are aspects of confidentiality governed by contracts and other legal stipulations. The requirement to sign a non-disclosure agreement (NDA), a contract that limits private and public conversation about the content of the project, is common practice in some contexts. NDAs are also coming into question as many organizations have

108

EThiCS

expressed that they want to work in an inclusive way. Many companies mandate how, when, and what col­ laborators may post on social media about their work. Adhering to these legal guidelines is part of ethical prac­ tice, and often the stage manager is modeling professional practice to other members of the company.

SLOW TO CHANGE It was my first time working at this prominent Ameri­ can theater and I was thrilled for the opportunity. In 2022, many organizations were newly producing after the COVID-19 shutdown, and many theater practitio­ ners were striving to change their institution’s oppres­ sive practices. I was eager to prioritize anti-racism and anti-oppression in every aspect of my work, and I was heartened that the theater’s website espoused its com­ mitment to anti-racist values. The website also listed its staff members, including positions like master carpenter and master electrician. Because of the theater’s reputation and their public statements about their commitment to anti-oppression work, I assumed they would understand that language associated with the trauma of slavery can be hurtful. I opened a conversation with senior staff members, and learned that making those changes wasn’t a pri­ ority for them at that time. This wasn’t the first time that other people or organizations weren’t changing as fast as I  wanted them to. I  was disappointed, and EThiCS

109

I informed them that these titles would appear as ‘head carpenter’ and ‘head electrician’ on the contact sheet I made for the show. Situations like this have led me to incorporate inclusive practices that stage managers can implement through­ out the production process. And several months after the show closed, the theater finally changed the lan­ guage on its website. –NEA

Language Language that requires ethical consideration can be referred to as loaded, explicit, charged, or derogatory, referring to words or phrases that elicit a significant emo­ tional or visceral response. Among the many examples are racial epithets, sexually explicit language, words that recount a traumatic event, or hate speech against any individual or group. This language may exist in a perfor­ mative piece, and organizations or producers frequently post warnings in the lobby or on the organization’s website to inform patrons that the content is potentially disturbing. While this language may exist onstage, stage managers, with other leaders of the team, can determine how the language will be treated offstage. In a play that includes derogatory language about women, for example, the company could establish a prac­ tice in which the language is only spoken while the scene is being rehearsed. The company could choose to not

110

EThiCS

repeat the words when they are discussing the scene dur­ ing table work or when they are informally talking with each other during breaks. Every collaboration is different and each individual has a unique relationship with words and trauma. Facilitating conversations about the diver­ sity of experiences amongst collaborators can inform how the stage manager opens discussions about language. The “N-word” is one of the most charged words. It can be derogatory or affectionate, but even when it has been reclaimed, sung, and rapped, it carries a history of oppres­ sion, degradation, and slavery. When the word is written into a production, discussions about when it will be used and by whom can help guard against collaborators feeling harmed or injured. An all-white stage management team could discuss with the director, playwright, and the cast how best to prompt the actors when this word is used in a dialogue. A multi-racial cast can specifically discuss who in the cast can use the word in their specific process. These unwritten contracts amongst company members are volun­ tary agreements that the collective strives to uphold, in ser­ vice to their specific process and to care for each individual. Stage managers, along with other leaders of the team, can be instrumental in suggesting that these conversations occur.

ETHICAL LANGUAGE I had discussed how we would use the N-word in rehearsal with my assistant, the production assistants, and the cast, so it was a shock when a white male EThiCS

111

collaborator used it while repeating a line from the script. The room, filled primarily with young AfricanAmerican men, became incredibly tense. Didn’t he know that in our process only people who identify as Black could use that word? I called a break and privately explained that his language was inappro­ priate. I expected an apology, but he told me he had used it in other productions where it had appeared in the script and no one had seemed upset. He agreed not to use the word again and excused himself. The second time it happened, a different member of the creative team used the word as he repeated a line from the script to illustrate where a shift might occur. My white colleagues said nothing. I told him I would appreciate him saying “N-word,” rather than the word itself, when referencing the text. He agreed to this practice, and the rehearsal continued. Later, I  vented to my assistant—also a white male— about both men, until he explained that the two col­ laborators had not been part of the rehearsal room conversations we had about the N-word. I  hadn’t reached out individually to inform the team members who were not in the room when we discussed these parameters with the cast. He was right, and I acknowl­ edged that I did not tell them even though I also felt like I  shouldn’t have to. That word carries so much history and oppression and I assumed all of the collab­ orators, especially the white men, would refrain from

112

EThiCS

using it. There is not a universal understanding of the ethics of language, even regarding words that I clearly think demand consideration before using. –NEA

Incivility The process of creating and producing live performance can be chaotic and full of discord. Artists, like all people, sometimes behave poorly towards others. Live perfor­ mance is time-bound, often under-resourced, and can be deeply personal. The resulting work is typically open to public opinion and criticism. The act of meeting an audi­ ence and being formally open to disapproval can lead to heightened vulnerability which can result in friction. Power structures influence who feels that they may or may not have agency over someone else, and the more awareness the stage management team has about who holds formal authority, the more effective they can be in responding strategically. The stage manager can choose to respond to objectionable behavior within an ethical framework. Some strategies of response can include actively listening and considering multiple perspectives, responding with empathy, imple­ menting disciplinary measures, purposely ignoring the conduct, and directly addressing, naming, and sharing the impact of certain behaviors on others. If the stage manager has a personal reaction to the situation, those feelings can impact the strategy for response, requiring EThiCS

113

even more careful consideration about how to proceed. Speaking privately with a colleague and telling them that the words they used or the behavior they displayed was hurtful or rude can be emotionally taxing, and could be met with defensiveness or denial, but this direct approach can also yield positive results if the colleague is receptive to honest feedback. Modeling kindness, compassion, and respect as professional behavior can be a stage manager’s most powerful tool. When objectionable behavior occurs, stage managers determine if they are the most appropriate person to respond to a situation, or if the responsibility lies else­ where. Methods of assessment include analyzing the power dynamics of the individuals involved, whether this is an isolated incident or a chronic problem, and whether feelings were hurt or significant injury was caused. Some organizations have anti-bullying and anti-harassment policies, and those formal systems provide the stage man­ ager with a protocol to address related behavior.

Intimacy When managing moments of intimacy in live perfor­ mance pieces, the stage manager can foster an ethical process. Sensitive moments can be choreographed by directors or collaborators who have specifically been trained to direct intimate moments. Intimacy Direc­ tors and Coordinators (IDC) is an organization com­ mitted to education and establishing standards of intimacy direction. The mission of IDC is “to equip

114

EThiCS

every institution and individual artist in the entertain­ ment industry with the resources and education needed to create a culture of consent in which intimate stories can be told with safety and artistry.” IDC has five Core Values: Anti-Racism, Creativity, Integrity, Excellence, and Sustainability, that stage managers can adopt. Addi­ tional resources continue to emerge that are centered on intimacy direction and provide stage managers with practical advice and tangible practices. Stage managers can advocate that these five values, as well as a culture of consent, be followed even if an intimacy director is not engaged on a project. Intimacy discus­ sions can be uncomfortable, and sometimes the percep­ tion exists that if the moment is discussed, it will lack authenticity, chemistry, or spontaneity. Stage manag­ ers can initiate intimacy conversations and remind cast members that moments of intimacy are comparable to dance or fight choreography. As such, intimate touch can be specifically discussed, taught, rehearsed, recorded, and repeated. The nature of the stage manager’s role in all phases of a production process necessitates involve­ ment in intimacy direction. Everyone can benefit from practices that include structuring the opening and clos­ ing of intimacy rehearsals with specific activities that are centered on consent and compassion. When speaking about the intimate moment, using correct names for body parts and avoiding slang or colloquialisms can be a useful tactic to formalize the process and create a professional environment. Intimacy calls, similar to fight calls, can be utilized within a process. In connection with EThiCS

115

choreography, stage managers can document all move­ ments, and time boundaries can be assigned to intimate touch. The amount of detail recorded is dependent on the specific choreography, the personalities involved, the direction, and the stage manager’s ability to infer what is necessary to maintain and repeat the moment. Inten­ tionally practicing IDC’s recommended principles can promote an ethical process of rehearsing and performing intimacy.

Conclusion As the world grows more complex, so do the dilemmas stage managers may face, as well as their options for response. Ethical debates flourish in every performa­ tive environment, and the stage manager’s willingness to engage in adaptive theory-based practice when questions of ethics arise is one step in cultivating skills that can sup­ port the navigation of ethically-charged situations.

116

EThiCS

IN THEORY AND PRACTICE Think about your most recent project: • What were the ethical challenges? • What factors did you consider and why? • Which ethical frameworks proved most helpful? • If you crafted your own ethical framework, which concepts did you include?

THINK LIKE A STAGE MANAGER ABOUT ETHICS • When you first familiarize yourself with a project, make space to acknowledge whether there is content that connects to your identity and given circum­ stances in a potentially harmful way. For example, if you have a history of trauma and there is a storyline that navigates this subject matter, you may find it difficult to focus on your work. Acknowledge that you are in a vulnerable situation and identify allies in the production process and your personal life who will support you without judgment. • Reflect on a decision that you made regarding an ethical dilemma. Were there collaborators who reacted poorly to your decision? Did you con­ sider their reactions in making your decision? Did their reaction to your decision influence how you proceeded? Have you made a decision that chal­ lenged your ethics? EThiCS

117

8

Purpose is the intentional articulation of core values as they relate to the project at hand, the work a stage manager aspires to do, and their overall career. The focused ability to incorporate aspects of one’s life experience into the production process can be essential to curating a career that is inspiring and meaningful. Purpose may feel abstract and elusive, however, with strategic self-examination and implementation, tan­ gible outcomes can be realized. Ultimately, trusting intuition and the senses can lead to the purpose-driven

118

doi: 10.4324/9781003314639-8

pursuit of goals, and the cultivation of a unique stage management path. There are specific strategies and tactics the stage manager can use to connect to their work with purpose, trust, intu­ ition, and engagement. In his book Working With Emo­ tional Intelligence, Daniel Goleman defines the Emotional Competence Framework, specific strategies that can be incorporated into working style. These are broken into two categories: Personal, which includes traits such as selfawareness, self-regulation, and motivation, and Social, as in empathy and social skills. These competencies provide frameworks for self-assessment and goal setting. Additionally, understanding the distinction between intrinsic and extrinsic motivation can contribute to set­ ting authentic personal and professional goals. These are tools to consider when developing a professional profile that is influenced by a strong sense of purpose. Know­ ing and leading with the “why” and engaging effective goals and habits has the power to shape a career and a sense of identity. There isn’t a path waiting, rather it will be forged by setting fierce intentions and making goaldriven choices. The strategies herein are intended to empower the innovative stage manager to cross between environments and cultures. It has been said that when President Kennedy visited the NASA Space Center in 1962, he asked a janitor what he was doing. “I’m helping to put a man on the moon, Mr. Presi­ dent,” was the response. Whether or not the exchange actu­ ally happened or the President simply made it up to inspire PurPoSE

119

people is lost in the annals of history, but the allegorical sense of higher purpose rings true to this day. Stage managers can approach every detail with an extraor­ dinary sense of purpose. The tiniest and seemingly incon­ sequential piece of paperwork can provide information that enables a collaborator to be extraordinarily effective. Similarly, a purpose-centered approach can be infectious when the stage management team takes a distinct interest in every crew member’s work and values the details spent on each endeavor. Frequently, the real challenges of stage management work are more about relating to people rather than the technical areas. With that in mind, the overall potential for messiness during a creative collaboration is usually about people who have varied expectations and communication styles. Stage managers can cue automation, set it with certainty, and rep­ licate it with each performance. The scenic pieces do not have feelings or need to debrief. But during a production cycle that has uncommunicated and uncoordinated expecta­ tions, there can be individual and collective disappointments. Each person’s engagement and self-awareness governs much of the experience, as well as the overall chemistry between everyone in the company. Purposeful evaluation of potential collaborators and existing relationships can factor into the “why” of seeking to work on a particular project.

The Importance of “Why” Purpose, or the “why” is most effective when motivated from expectations that live within, rather than extrinsic

120

PurPoSE

ideas of success or the judgement of others. Director Anne Bogart writes in and then, you act: making art in an unpredictable world, “The why determines the value of the what. For this reason, it is essential to examine the reasons that motivate you. Stay close to the why.” Know­ ing why is one of the most essential insights to develop when designing a purpose-based career. Stage managers do not take a bow. When a stage man­ ager, consciously or not, seeks to be the center of atten­ tion, rather than focusing on the needs of the production, this behavior may prevent them from being an effective leader. As the person in the process who most frequently needs to make decisions that may displease more than one collaborator, stage managers require a resilience that transcends the collaborative alliances that exist within the production process. Put simply, the more a stage man­ ager seeks approval and has a desire to be praised, liked, and valued, the more risk there is in compromising the critical decision-making that supports the production. Tailoring a unique stage management approach to the process, while maintaining a continuous state of curios­ ity, can lead to extraordinary collaboration.

Mentorship Trusted mentors can provide lifelong guidance in the pur­ suit and realization of goals. They can be invited to offer feedback and help clarify who to work with and why. Mentors who understand the field of stage management, as well as those from other backgrounds are important in PurPoSE

121

providing different points of view. Whether or not there is mentorship in the formal context of stage management training, teachers from all different backgrounds can be active supporters of purpose, goals, habits, and daily practices.

Goals Goals are an important tool for identifying and articu­ lating intentions in every aspect of the stage manager’s work. They can be professional or personal, and can range from how many pages will be blocked in a rehearsal to what the stage manager wants their next big project to be. Actively articulating goals that are measured by time, as well as goals that are specific to a production, are potent practices that enable a close connection to purpose. Goal setting enables the mapping of intentions and engages specific habits and practices that will support the work. During the process of crafting them, the stage manager is well-served to distinguish between something they are expected to do versus something they aspire to. When success is defined exclusively as an accomplish­ ment, such as a professional credit in a particular context, or securing the praise and approval of others, it is easy to lose sight of authentic aspirations. Additionally, the original expectations of working on a project go unful­ filled, and the disappointment that can accompany that can interfere with clearly determining the next steps in a career. Determining the “why” helps the stage manager

122

PurPoSE

better understand their own motivations. Whether they are driven to work with a specific person, or they’re seek­ ing to do a project based upon the status associated with it, understanding the “why” will assist them in creating guiding goals and associated habit systems. Committing to goals will provide a continual view of the big picture, as well as specific tasks along the way.

Goal Setting Authentic goal setting requires a distinct interest in tak­ ing risks while working beyond expectations, engaging curiosity and aspirational values that support innova­ tion and exploration. Goals are frequently most effective when measured by a clear set of criteria. These metrics could include a time frame, accomplishment of specific steps, or more elusive yardsticks such as building rapport with a collaborator. Goals can be organized into different categories, such as the ones listed here.

Goal Categories • Aesthetic Awareness: Engagement in the production process as a creative collaborator, sharing responsibil­ ity with others and supporting the aesthetic integrity of community process and subsequent outcomes. • Boundaries: Clearly accepting or rejecting circum­ stances or a request and communicating when a col­ laborator is coming close to a line or has crossed one. • Communication: Actively crafting interactions by employing tools that support the exchange of information. PurPoSE

123

• Conflict Navigation: Embracing the role of mediator by working outside of the comfort zone and into the growth zone. • Connection: Identifying common ground between colleagues with vulnerability and grace. • Group and Team Dynamics: Diagnosing and shap­ ing the unique and complex tendencies that emerge amongst people in the collaborative environment. • Self-Awareness: Owning actions with authentic­ ity while being prepared to explain choices with­ out defensiveness, admitting failures as well as triumphs. • Self-Care: Creating time for renewal activities such as exercise, connecting with nature, and flexing physical and mental muscles that are not typically used during the stage management process. • Technical Skills: Studying the various production areas to strengthen fluency in the language of pro­ duction. This goal also includes tactical stage man­ agement practices such as generating paperwork and setting up organizational systems. The mediums of goal setting can be fluid and are not restricted to writing lists or prose. Music, drawing, or even using a metaphor can expand how ideas are gen­ erated related to goals. These alternative strategies can work well for those who are averse to writing or have a tough time with written expression. Being playful and creative with goal setting will frequently shed light on additional ideas that support self-awareness.

124

PurPoSE

A MUSICAL WAS THE GOAL

It was New Year’s Eve and the dawn of a new mil­ lennium. I  had never been one to make resolutions, but I  carved out some time and wrote what I  hoped to achieve for the upcoming year. I’m not sure I even realized I  was setting goals and habits. I  wanted my next project to be a Broadway musical, and I  gave myself twelve months to accomplish this. My list looked something like this: • Build at least two relationships with stage man­ agers and general managers who frequently do musicals. • Ask stage managers who are currently running musicals to coffee. • Improve my sight-reading skills and become more proficient at following a score. • Familiarize myself with the AEA rules specific to musical productions. • Study new musicals coming to New York, and learn who the producers/general managers are. • Tell at least 20 people, and at least one new person each week, that I want to do a musical. It was this last habit that proved most helpful. Later that evening my friends poked fun at me for being so systematic, but the very next day I  began practicing my habits in service of my goal. PurPoSE

125

Three months later I received a call from the PSM of a successful, long-running show. She’d heard from a friend of a friend that I was interested in working on a musical, and she was looking for a permanent stage manager to replace one of her four assistants. After several interviews with her and the producing orga­ nization, I got the job and ended up having a relation­ ship with the show for more than a decade. All of this happened less than six months after I wrote down my goals, and to this day, when I want to achieve some­ thing, I list the habits I will practice and tell at least 20 people I know. –NEA

Habits Each goal can have multiple and specific habits, the prac­ tices intended to bring the desired outcome to life. They can be effective when clearly articulated and measurable in a way that is regularly referenced and assessed. For example, if a goal relates to initiating uncomfortable con­ versations, it could be helpful to establish the number of times each day or week that an effort will be made to exercise a habit related to this goal. There may be spe­ cific people with whom to have this type of conversation, and even some who are open to engaging in practice ses­ sions. Regular time reserved to support the measurement of goal progress and the inherent challenge in each goal can be modulated over time. Some habits will be easily achievable, while others can be practiced over a lifetime.

126

PurPoSE

Vulnerability A firm commitment to be vulnerable as an important component of purpose can propel the stage manager into new and unexpected places, and influence the over­ all process. Several ways to exercise vulnerability include actively owning mistakes, acknowledging internal emo­ tions and the emotions of others, and naming expecta­ tions. Once vulnerability has been established as an individual and, ideally, a team practice, various tools can be identified to nourish the process with sustained open­ ness and growth.

BREATHWORK TO REGULATE When I’m facing high-pressure stage management environments, I often lean on my decades of yoga and mindfulness meditation practice to prepare. Before calling a show, I center myself and focus on my breath­ ing. Being present while calling cues is a core skill, and connecting with my body supports me when leading multiple people in a synchronized manner. I clear anything that might be a distraction from my work area, and I  sit for at least one or two minutes, counting my in-breath and my out-breath, often intentionally elongating the out-breath by one or two beats. I’ve learned the hard way that whenever I stop to ruminate on a mistake or a call that could have been better, or worry about what’s still to come in a show, PurPoSE

127

I  lose track of the present moment. When I  can’t be present, I’m more likely to call a cue incorrectly, or respond to an unexpected event with stress instead of an open mind. Building this simple mindfulness practice into my pre­ show routine has positively impacted my ability to pay attention to how I’m calling the show. With a par­ ticularly complex call, I often put a small mark in my script, my calling score, or my run of show, to remind me to take one or two good deep breaths. –LP

Mindfulness Mindfulness is the practice of focusing on the immediate moment, and being aware of the present without judge­ ment. Mindfulness can be practiced anywhere and at anytime, and can be particularly useful when stress or a busy mind impede the ability to be present. The ability to be mindfully focused when setting goals and explor­ ing purpose can support the stage manager’s authentic awareness of their intentions.

UNEXPECTED PURPOSE I was scheduled to teach a seminar at the Yale School of Drama on September 12, 2001. Following the terrible events that took place on September 11,

128

PurPoSE

I called to say I wouldn’t be able to teach the next day’s class. A  few days later, the Chair of Stage Management called me and offered me a show and asked if I  wanted to teach a class. I  accepted the show but declined the class. We remained in con­ versation, and she ultimately offered me the oppor­ tunity to create the class I  would have wanted to take in graduate school. I  accepted immediately. The class explored non-traditional work: dance, corporate events, international work, and even projects that defy categorization. This was what I had focused on since graduation, and I was being handed a platform to introduce this work to gradu­ ate stage managers. I cautiously developed a syllabus and found the pro­ cess of recycling my experiences to be unexpectedly gratifying. I learned the Harvard Business School Case Method while typing papers for my mother’s friends, absorbing many of the soft skills from the business content. I began writing case studies, which have now evolved into these experiential stories. I fell in love with teaching and discovered that my experiences were powerful teaching tools. My purpose shifted, and I offered to teach whenever I traveled. In 2003, I  visited a seminar at UC San Diego, and the following year I  was hired for the full-time position I now hold. –LP

PurPoSE

129

Conclusion Purpose can guide the stage manager’s production pro­ cess while simultaneously shaping their career. Wellarticulated intentions can empower the stage manager to connect with their “why” and lead effectively.

IN THEORY AND PRACTICE • Write a clearly written statement of purpose, also referred to as a “mission statement,” that articu­ lates your purpose today. o Articulate at least five goals and correlat­ ing habits that support your purpose as you view it in the present moment. Write with “I” statements, don’t use qualifying words such

130

PurPoSE

as “should” or “might,” and focus exclusively on what you desire to accomplish rather than what you are looking to avoid. o Place copies of this document in locations where you can view them frequently and devise a way to track your goals and habits. o Share your intentions, goals and habits with trusted friends, mentors, and colleagues who can support you in staying connected to your purpose. o Devise a system for updating this supportive group about your progress.

THINK LIKE A STAGE MANAGER WITH PURPOSE Sample Goals and habits • Goal (Connection): I have an aversion to network­ ing and I seek to improve my networking skills by making positive and memorable first impressions. o Habit: Follow-up with collaborators and let them know about my current projects. Track the accomplishments of the people I aspire to add to my list of colleagues and reach out with a congratulatory note. • Goal (Technical): I will become more acquainted with the production shops and actively build rap­ port during the rehearsal period. PurPoSE

131

o Habit: Track unresolved rehearsal notes and take that opportunity to learn something new about the skills associated with that pro­ duction area as well as the leader in that shop. • Goal (Conflict Navigation and Boundaries): I will deepen my empathy and compassion for my col­ laborators by letting go of my sense of judgment when others do not meet my expectations. I will remain open and receptive during moments when I  feel a strong emotion as opposed to shutting down. o Habit: Engaging as an active listener, be curi­ ous, relate to what is unfolding with my col­ laborators and ask clarifying questions that contribute to conflict resolution. • Goal (Self-Awareness): I  will accept that mak­ ing mistakes is part of the process, and own the consequences of my mistakes without shaming or blaming myself or others. I  acknowledge that the mistakes matter less than the action I take as a follow-up to the mistake. o Habit: Notice how I feel when I know I have made a mistake and engage specific language like an ‘I’ statement to identify next steps. Write about a mistake I made in an unfiltered manner in a journal or on the technology plat­ form of my choice. • Goal (Communication and Self-Awareness): I will open uncomfortable conversations with people

132

PurPoSE

that I perceive as difficult and/or resistant to me. I  will refrain from personalizing situations and speculating about what other people may think or feel about my choices. o Habit: Accept that my thoughts have the capacity to deeply shape my perception and experiment with turning my thinking around into alternate viewpoints. • Goal (Group/Team Dynamics): I  will foster a collaborative team environment and facilitate an open space for dialogue about conflict, excellence, challenges, and team dynamics. o Habit: Schedule a team check-in after rehearsal each day with a structured prompt that sur­ faces the voice of each team member. • Goal (Self-Care): I  will continue to make space for my emotions by accepting them as they come, without judgment, consciously breathing when I feel agitated. o Habit: Mindfully practice conscious breath­ ing prior to rehearsal, cultivating calm and the capacity to be present. • Goal (Aesthetic Awareness): I will engage with the creativity inherent in the process and give atten­ tion and energy to my collaborators. o Habit: Practice open and available body language that indicates my engagement. Refrain from crossing my arms and legs, and creating a physical shield between me and those around me. PurPoSE

133

• Goal (Boundaries) I will define and articulate per­ sonal and professional boundaries with intention. o Habit: Communicate clearly with my col­ laborators and indicate my expectations with clear time markers. • Goal (Communication and Group/Team Dynam­ ics): I  will use my voice even when I  am intimi­ dated by the formal authority of the Production Stage Manager. o Habit: Connect with the Production Stage Manager by asking clearly framed questions about the definition of roles and assignment of tasks. Invite observations and feedback. • Goal (Aesthetic Awareness and Technical): I will trust the often improvised and foreign culture of dance and feel confident in my instincts and abilities. o Habit: Invest time in planning, knowing that implementing a strategy will almost always require adaptation and change. • Goal (Communication and Technical): I will gen­ erate paperwork that is both efficient and clear for others to follow and understand. o Habit: Request feedback from team members on the accuracy and implementation process of my paperwork.

134

PurPoSE

• Goal (Technical): I  will actively experiment with organizational and productivity systems on a per­ sonal and show specific levels. o Habit: Experiment with new technology plat­ forms that will enable information sharing and increased efficiency.

PurPoSE

135

9

The American theater is like any other industry, in that it can include racism, sexism, homophobia, and other major and minor oppressions that can marginalize an individual or a group and create inequality within a larger team. These oppressions could be anything from an overt act to an unintentional microaggression. Addi­ tionally, performance spaces are generally hierarchies that come with prescribed power dynamics that impact how people collaborate. The offerings presented in this chapter are intended to empower stage managers to lead

136

doi: 10.4324/9781003314639-9

change within production environments, regardless of their role in the production itself. Every stage manager can practice equity, inclusion, and compassion, and they can employ the tools and practices offered here, whether there is buy-in from other individuals or the entire company. Working inclusively means allowing everyone to partici­ pate, and considering the impact a decision might have on every individual in the process, regardless of their posi­ tion or authority. Working equitably can mean consider­ ing the given circumstances of each member of a process, and based on those factors, thoughtfully assessing and potentially determining if an individual has what they need to engage with the work. Working compassionately refers to taking into account and actively caring about the people who are part of the process and production. Sometimes this could mean a producer engages a special­ ist, including an Access Coordinator, Cultural Consul­ tant, or Equity, Diversity, Inclusion (EDI) Facilitator, to support the process. While some stage managers may have already incorpo­ rated practices that promote equity and inclusion into their work, others may just be considering their role in creating compassionate and inclusive spaces. The follow­ ing tools are intended to empower and support the stage manager who is curious about promoting these values. Regardless of their position on a team, every stage man­ ager can help create an environment where care is pri­ oritized, enabling everyone to feel acknowledged and valued. PowEr

137

Power in Practice: Pre-Production, First Rehearsal, Rehearsals Research and Self-Education Learning as much about a project before going into a production can greatly benefit the stage manager. This can include research that thoroughly examines the text, material, collaborators, organization, and the past work of the entire team that the stage managers will be working with, as well as educating oneself about relevant topics. When a project has charged content or multiple perspectives that a stage manager may need to become more familiar with, research and self-education can help them make thoughtful and informed choices. Many productions require more support through inti­ macy and fight directors, cultural or diversity consul­ tants, and access to mental health resources. The stage managers who educate themselves about challenging topics within the content of a production set them­ selves up to be thoughtful, compassionate, and empa­ thetic managers. Research and self-education are the primary tools that can empower stage managers to show up to the pro­ duction process informed, compassionate, and ready to advocate for the entire team, establishing a foundation that supports the development of goals and intentions. Stage managers who set aside time at the beginning of the process to discuss what they have learned from their research and self-education are modeling intentions that other collaborators can potentially adopt.

138

PowEr

FEAR IS POWERFUL It was the fourth day of pre-production, and I  was leading the team through a post-rehearsal check-in. As we took turns sharing our day’s experiences, the production assistant erupted in tears. I was rattled by this, and it took me a moment to understand why they were so upset. Slowly, through sobs and halting words, they said they had no idea how to complete the blocking pages they had been asked to make. I had asked them to create a blocking template, but somewhere in the process, they got the idea that they had to magically write all the blocking on the pages before the show had been staged. No wonder they were so defeated and overwhelmed to the point of tears. What was most troubling was they had been consumed with fear and anxiety about this for days and had not said a word. This crushed me, as they were the team-member with the least amount of authority and experience, and I’m sure this contrib­ uted to the severity of their emotions. On day one, we had spoken about the importance of asking ques­ tions and meeting mistakes with compassion. We had acknowledged that none of us were perfect, and that we would strive for excellence. Still, even after these discussions within our team, they didn’t feel comfortable asking for help or clarification. I gently prodded as to why they didn’t say something earlier and they said they were afraid of what the other stage managers and I would think of them.

PowEr

139

This situation serves as a reminder to me of how pow­ erful fear is, and how I need to keep striving to foster environments where team members can summon the bravery to speak up. –NEA

Working with Fear Fear can impede the ability of stage managers to engage with their work. When a situation is perceived as scary or uncomfortable, fear can be felt in the body and can inter­ fere with the mind’s ability to reason, manifesting physi­ cally as a faster heartbeat, sweaty palms, short breaths, a change in one’s tone, and anxious energy. Fear can also result in defensiveness, and resistance to feedback, criti­ cism, or change. A stage manager’s ability to identify that fear is influencing their behavior can allow and prompt them to employ self-regulation strategies such as mindful breathing or naming and acknowledging the source of fear. Another valuable tool is discussing what aspects of the process can bring up fear. This strategy includes discuss­ ing potential areas of conflict as a team. Empowering teammates with knowledge, and discussing pathways to navigate outcomes, can help deactivate the negative behaviors that can manifest from unaddressed fear.

Individual Agency Individual agency refers to people’s ability to selfauthorize, making choices that guide their actions.

140

PowEr

Agency, the power to do and act, can be challeng­ ing depending on the stage manager’s self-confidence and their trust in their collaborators and the process. Recognizing one’s agency can be empowering, and includes an understanding that there is power in ask­ ing a question, sharing a concern, inserting one’s point of view, or choosing to behave in a certain way, even when the stage manager does not have authority or positional power. Learning the potency of individual behavior and engage­ ment can be transformational to stage managers, espe­ cially in production processes that are full of tension and challenge. Stage managers can control how they will show up and engage throughout the process, even if final decisions are made by a collaborator who holds more positional power.

Depersonalizing Depersonalizing means not taking situations or feed­ back personally. Stage managers may find themselves managing interpersonal challenges where emotions are running high, and the ability to separate oneself from the situation and not internalize emotions can be extremely valuable. Likewise, receiving critical feed­ back without equating it to who they are as people can be a useful practice of depersonalizing for stage manag­ ers. Not internalizing feedback allows stage managers to focus on problem-solving difficult situations from a healthy distance. PowEr

141

Awareness of Language Stage managers can choose to consider words and phrases in their language that cause harm or reinforce oppression. By intentionally incorporating language that combats oppression, stage managers can prioritize deconstructing inequitable systems. Identifying equitable alternatives to racial and ethnic stereotypes, ableist language, and other potentially offensive language can be modeled by stage managers. Language is powerful, words and phrases impact individuals differently depending on their back­ grounds. Making adjustments to one’s vocabulary can be an empathetic act in service of building a culture where everyone feels valued.

Y’ALL FOR ALL I was calling an event, and we were going into a break. Over headset, I said, ‘Thanks, y’all, see you in a few minutes.’ Someone commented that it was strange that I’d use that term, since I’m not from the South. In terms of my own language, I no longer refer to groups of people as ‘guys,’ because the term excludes many people, while ‘y’all’ or ‘folks’ is inclusive of everyone. I briefly, yet casually explained why I used that term. Did that make a difference, or make someone consider the language that they use? I’ll never know, but I mod­ eled language that is important to me. –LP

142

PowEr

Power Dynamics In every production process, each individual has a dif­ ferent level of influence, control, and power. Power dynamics refers to how that power impacts relationships within the group of collaborators. Power dynamics can negatively impact workspaces when left unacknowl­ edged, leaving collaborators with the least power feeling unconsidered. Talking about power dynamics transpar­ ently clearly establishes who has the authority to make decisions and lets every member of the company know where they fit in the hierarchy. Stage managers can encourage company members with the most power to speak to others about their leadership style and what an inclusive process means to them. This can help set expectations that promote accountability among the team.

WHAT YOU WEAR It’s early in my career, and I’m in New York City at the helm of a technically complex production, working for the first time with a team of union stagehands made up entirely of cisgender, heterosexual, white, middle-aged men. I need to earn the crew’s trust, because I know this will be a challenging process. On a recent proj­ ect, I had received feedback from a female stage man­ ager that being intentional about how I present myself could influence how the crew responded to me. As someone who primarily wore jeans and a sweatshirt, PowEr

143

she recommended that I dress more formally, to posi­ tion myself as someone who would be directing the crew. I decided to put that idea to work, and changed my wardrobe for this project–even though I  didn’t take her advice about always wearing heels. At the end of the rehearsal, as the touring team was reflecting on the evening, one of my collaborators offhandedly said, “This was all easier for you because the crew want to do things for a pretty girl.” While I  was taken aback by the directness of the comment, I responded that while that may be true, I had also made strategic choices that influenced how the crew received me. I saw that how I present myself can have an impact on how other members of the company perceive me. –LP

Shared Intentions Shared intentions are deliberate words or phrases that practically and aspirationally state how a particular group of people will collaborate compassionately. Co-creating shared intentions within a group is a practice that stage managers and other creative leaders can initiate. Discuss­ ing shared values and intentions in the early phases of rehearsal can explicitly promote an understanding of how the company can be in relationship with each other. Shared intentions can be referenced at any point in the process, when a value the group has articulated as neces­ sary hasn’t been upheld.

144

PowEr

Opening Conversations by Acknowledging and Naming Among the most potent tools stage managers have in service of promoting inclusive and equitable production processes can be opening conversations by acknowledg­ ing and naming. Speaking directly about challenges, and genuinely stating what one needs to thrive in a particular environment are examples of acknowledging and nam­ ing. This can mean asking hard questions, or addressing conflict or tension points that aren’t being discussed. Acknowledging and naming can enable mutual recogni­ tion of a situation, allowing an environment where mul­ tiple feelings and ideas can be expressed. Stage managers can participate in and lead by naming power dynamics, encouraging individual agency, creating feedback path­ ways, and setting boundaries.

Access Needs Access needs could include pathways to enter and exit a rehearsal space, ASL (American Sign Language) inter­ preters, bathroom access for a person with a mobility disability, a sensory  environment such as a quiet space to run lines, or awareness of a food allergy. Requesting access needs from company members as a routine prac­ tice during pre-production provides the stage manage­ ment team with useful information about who may need support in order to fully engage with the process. Many people who identify as disabled have access needs that are visually apparent, while others might benefit from having PowEr

145

their access needs requested. By inviting access needs the entire company can benefit from being supported and from understanding ways to support their colleagues.

Feedback Systems Creating a system that enables collaborators to offer insights, feedback, and firsthand lived experience pro­ motes an inclusive system, and can contribute to a sense of belonging. These systems can be anonymous or iden­ tifiable, and provide information to a leadership team that holds decision-making authority. Stage managers can part­ ner with other leaders and managers to create feedback systems, setting aside intentional time to listen to their col­ laborators regularly throughout each production phase.

Tension Points Tension points are moments in a production process that could cause discomfort, anxiety, stress, fear, hurt, or even harm, because of the nature of the circumstances. These can be external forces, like an ongoing global health cri­ sis, or a tension point within the production, such as disagreements between collaborators. There can be a negative impact when tension is present and emotions flare. When they perceive that a tension point is present, stage managers can open a conversation by identifying, naming, and acknowledging the source of the concern. When space is created for all company members to name tension points, stage managers may gain insights into

146

PowEr

components of the production process that are causing stress. This information allows stage managers to advo­ cate for support and extend a level of care to support the company’s wellness. Inevitably, there will be circum­ stances where no support is available other than the pow­ erful practice of collectively naming tension points and knowing they can be faced together.

Dismantling Perfectionism Perfectionism is the belief that there is a proper and cor­ rect way to do things, and many stage managers have held perfection as an essential attribute. Perfectionism’s focus on flawlessness can manifest in self-criticism, compari­ son, personalization, defensiveness, and fear of making a mistake. The pursuit of perfection can lead a stage man­ ager to seek approval and validation from other people, even resulting in evading accountability by lying or con­ cealing information. Dismantling perfectionism can be an effective tool for stage managers who want to center excellence in their work and accept that mistakes are part of any production process. Prioritizing excellence allows for missteps and mistakes to occur, without being treated with judgment or shame. Excellence makes space for diverse approaches to production scenarios that are open to the ideas of others. Perfectionism is rooted deeply in many aspects of daily language, such as, “oh, that’s perfect” or “I had the per­ fect day.” By being mindful of how they speak to one PowEr

147

another and themselves, stage managers can reject these unattainable ideas of perfection. By committing to meet­ ing team members who make a mistake with compassion, stage management teams can resist a culture of perfec­ tionism. By accepting responsibility, assessing why a mistake occurred, and apologizing when necessary, teams can learn from the inevitable mistake, and move forward with excellence rather than focusing on the unat­ tainability of perfection.

EMPOWERING EXCELLENCE Everyone in the huge circle had introduced them­ selves, offered their pronouns if that was their prac­ tice, and their role on the production. Zodiac signs were also shared, which brought a nice lighthearted­ ness to this first-rehearsal meet and greet. After several words from the producers and the creative team, the diversity consultant led the company through an hourlong exercise in which every member of the company, including the performers, the general managers, the creative team, the stage managers, answered the ques­ tion, “What do you need from your colleagues to do your best work and be your authentic self?” It was heartening to hear performers and manag­ ers alike express collective ideals such as the need for honesty, clear communication, a respect for boundar­ ies, and realistic expectations. When it was the stage manager’s turn to answer the question, I intentionally

148

PowEr

remained silent. I was the leader of a six-person team, and we had spent the last few days discussing what we needed from each other and the type of team culture we hoped to build. After a few moments of silence, one of the assistant stage managers enthusiastically spoke up saying, “The stage managers need everyone, especially the performers and the creative team, to know that we’re not perfect. We’ll make mistakes, and we want you to know that we’ll always do everything we can to remedy the mistake. But we will need your grace.” Two other assistants verbally agreed, and then another stage manager wholeheartedly added, “Yeah, we’re striving for excellence, not perfectionism.” Though I  didn’t say anything throughout this exchange, internally I  was jumping for joy. We had talked about many things during pre-production, and it was clear that the conversation about perfection­ ism had stayed with them. And even better, the rest of the company received this idea with kindness and enthusiasm. –NEA

Holding Space Stage managers can hold space for others by listening to their needs without judgment and responding with care. Transparency is an important component of hold­ ing space, and refers to being unambiguous about how systems, procedures, and decision-making work within PowEr

149

the context of a production. This can include setting clear boundaries about when information needs to be dissemi­ nated or kept confidential. Each stage manager’s style and situation will determine how they hold space. Every situ­ ation is unique, and there’s no one correct way to hold space for others. Additionally, holding space is not a sub­ stitute for support, and stage managers can discern when to refer a company member to someone better equipped to help them.

Power in Practice: Pre-Tech Through Closing Revisit Shared Intentions and Tension Points On the first day of technical rehearsals, it can be useful to hold introductions to expand the circle of collabora­ tors. For many of the crew members, performance venue staff members, and creative collaborators, this will be the first time they meet. Weeks earlier, collaborators may have agreed to several shared intentions. Revisiting those intentions with this larger group is an important inclu­ sive practice, and this collective engagement enables peo­ ple who are new to the process to connect, explore any aspects of the material that could be harmful, and expand the community. Likewise, revisiting tension points at the beginning of the tech phase with the expanded company can engen­ der trust amongst a group of people who are new to one

150

PowEr

another. In addition, empathy can be cultivated when dif­ ferent collaborators, like performers and crew, hear each other’s unique tension points, and consider experiences other than their own.

Community Building Embedded in many of the inclusive practices offered in this chapter is the act of coming together. Whether it is the stage management team, the company that is present in the rehearsal room each day, or the entire company, coming together as a group can be a powerful way to build a caring community. Any combination of people, including creative directors, stage or company managers, diversity consultants, can lead regular checkins with the company to express tensions, challenges, and gratitude. Even a brief moment of shared space can improve communication and impact the level of trust within a team.

Conclusion Stage managers can begin or continue to recognize their own power, by compassionately utilizing the tools out­ lined in this chapter. The offerings included here are intended to cultivate collaborative workspaces where everyone is free to contribute and create. Adjusting one’s practice to incorporate these ideas can be complex, and holding rigor and care simultaneously is challenging. When stage managers integrate any of the above prac­ tices, small and transformative changes can occur. PowEr

151

IN THEORY AND PRACTICE Shared intentions can be tools that directly support relationships with other collaborators. Intentions can be crafted and proposed during the early phases of the process reflecting the unique characteristics of each production. The following are examples of shared intentions that can be adapted as needed: • Speak from your own experience using “I” statements. • Trust that another’s words or actions are meant with the best intentions. • Listen actively by being curious, open, and engaged. • Intentionally prioritize kindness, care, and empa­ thy when interacting with others.

152

PowEr

• Disagree respectfully, transparently, and openly. • Accept that mistakes are inevitable. • Commit to addressing hurt and harm within the production process. • Honor everyone’s contributions to the work, regardless of their position or power. • Open conversations with care and compassion. • Hold space for others to express themselves and thoroughly communicate their thoughts. • Use inclusive language to promote belonging. • Acknowledge that collaborators are often speak­ ing in draft when sharing insights. • Name and acknowledge the complicated demands for time, and recognize when urgency impacts how the work unfolds.

THINK LIKE A STAGE MANAGER ABOUT POWER • Use these questions to assess the inclusivity of your practice, and amplify your role in building an equitable and compassionate production pro­ cess. Your answers are the starting point for incor­ porating the tools provided in this chapter. o Who is and isn’t represented in this process? o What are the most potent power dynamics at play in your process? Have you discussed PowEr

153

these dynamics with another team member, and how did that feel? What would empower you to open a conversation with the people in the room who have the most power? Dis­ cuss how these dynamics feel in relation to an inclusive process. o What fears do you have when beginning a new process? Can you identify when fear is influ­ encing your behavior? o Do you remember a time within a produc­ tion process when you felt disempowered and didn’t have the agency to say or do any­ thing? With the understanding that there is significant power in our behavior, words, and actions, what might you do differently? o How are you relating to the content and con­ text of your current production process? Do you have obstacles that are present due to prior associations that could interfere with your ability to be present and engaged? o How can you and the stage management team contribute to enhanced transparency in the production process? o How would you assess your current stage management practice regarding perfection­ ism and excellence? What are some action steps that you can take to move your practice toward excellence?

154

PowEr

o Are there specific situations where you or other collaborators are operating out of fear, including fear of being yelled at or treated in a diminishing way, fear of making a mistake, or fear of being publicly shamed and blamed? o When do you get defensive, blame others, or refrain from taking responsibility for your actions? What tools could you use to identify and change this behavior? o Think of a time when you either engaged in direct and hostile communication, or were at the receiving end of such communica­ tion. What are some specific tools you used to address the situation? Did they work? Are there additional methods you aspire to incor­ porate into your practice in the future? o Have you ever refrained from directly addressing a person or situation, and instead vented or complained to others? When faced with this scenario in the future, how can you open a direct conversation instead of talking to a third party?

PowEr

155

We Commit to Anti-Racist Stage Management Education1

From tragedy to uproar, America is being held to account. There is much work to do during this pause. We are two educators and stage managers who lead the MFA programs at Yale School of Drama and the University of California, San Diego. We identify as women – one Black, and one White – who share an intentional com­ mitment to practicing and teaching anti-racist stage man­ agement. We are engaged in inquiry and self-assessment, as well as conversation about how the production of live performance will be transformed and how we can pre­ pare stage managers to lead an authentically equitable theatrical process. Many in the theatre community have been learning how to be anti-racist collaborators, leading the movement to end the passive tolerance of racism. Stage managers who are fluent in anti-racism persistently dismantle racist pro­ duction practices by employing techniques like the ones outlined below. This work empowers stage managers to emerge from this lengthy COVID-19 pause prepared to navigate a new production landscape. We have been in dialogue about race, equity, and the stage manager’s unique role within the production pro­ cess since we met as graduate students at Yale School of

156

Drama in 1992, but anti-racism was not part of our prac­ tice. The events of the spring of 2020 have compelled us to focus on the imperative work of anti-racism and share those practices with our students. When writing our recently published book, Stage Management Theory as a Guide to Practice: Culti­ vating a Creative Approach (www.routledge.com/ 9780815352280) we compared notes about how our careers have unfolded over the past twenty-five years. Narda’s career as a Black stage manager has been shaped by situations including becoming the diversity expert by default, enduring racist aggression, and being either invisible or tokenized throughout a production pro­ cess. Lisa, in comparison, as a White stage manager – with the accompanying and implicit privilege – lacks equivalent encounters. Scholars and activists Kenneth Jones and Tema Okun, in their seminal work Dismantling Racism: A Workbook for Social Change Groups, define white supremacy culture as “the ideology that the ideas, thoughts, beliefs, and actions of white people are superior to People of Color.” Our self-reflection has revealed how we’ve unconsciously and complicity upheld white supremacy culture within the production process. Characteristics like binary think­ ing, a sense of urgency, and individualism are identified as white supremacist traits and are often embedded in a stage manager’s work. Responsibilities that include track­ ing time, enforcing rules and policies, and recording and reporting information make the stage manager especially susceptible to upholding systems of oppression. wE CoMMiT To ANTi-rACiST STAGE MANAGEMENT

157

The tools and practices offered below provide the begin­ ning of a curriculum for anti-racist stage managers.

Tool: Dismantling Perfectionism Perfectionism manifests from white supremacy culture and asserts that the singular right way to work has been imposed by the White leaders who dominate a field.

Practices • Stop holding up perfectionism as an essential stage management attribute. Mistakes are part of the pro­ cess for all collaborators, and stage managers can model apologizing and repairing harm. • Recognize and redirect working exclusively to attain the approval of systems and people. Aspiring to be likeable can interfere with anti-racist action. • Understand achievement stereotypes based on race. In particular, consider the myth of Black exception­ alism, that Black people who are educated, smart, well spoken, and put together are the exceptions and atypical from the general Black population.

Tool: Research and Self-Education The stage manager’s level of self-education combined with their formal authority has the capacity to influence anti-racist practices in others.

158

wE CoMMiT To ANTi-rACiST STAGE MANAGEMENT

Practices • Engage in an independent anti-racist curriculum by reading books and taking on the burden of respon­ sibility to be well educated about anti-racist theory and practice. • Seek out information from sources that have an iden­ tity different from your own. • Educate yourself about diverse perspectives, refrain­ ing from relying on the person whose experience you need to understand. When the play has charged racial content or involves multi-racial perspectives, your research and self-education can inform your choices.

Tool: Awareness of Language The stage manager is the person frequently establishing tone, standards for civility, and reading the room. Inten­ tionally incorporating anti-racist language can prioritize the deconstruction of systems of oppression.

Practices • Assess the common phrases you use and diagnose whether they carry any racist meaning. Here is a list of some examples: https://minnesotaplaylist.com/news/phrases-we-should­ work-eliminate-rehearsal-room • Ask yourself about any oppressed identities that you could be excluding or unintentionally harming.

wE CoMMiT To ANTi-rACiST STAGE MANAGEMENT

159

Remove this language from your vocabulary and speak up as an ally when you hear racist language. • Establish boundaries when racist language is part of the content of a play, clearly stating how that lan­ guage will be used by different members of the com­ pany. This strategy is especially important for stage managers who will prompt or stand-in for a particu­ lar character. • Rehearse saying specific racial identifiers aloud as part of anti-racist practice. Fear or discomfort can surface when naming collaborators as Black, Latinx, Indigenous, and Asian.

Tool: Active Allyship The stage manager can employ allyship practices that demand courageous risk and specific daily action.

Practices • Speak up as an ally and stage manager, taking on the responsibility of disrupting and interrupting racist aggression towards non-White colleagues who have been harmed. • Question microaggressions that are typically normal­ ized in the production process, like a White colleague commenting that a Black actor speaks Shakespeare well, a White director asking a Black performer to “fix” their natural hair, or comments that a Black art­ ist only got the position due to their race. Other allies

160

wE CoMMiT To ANTi-rACiST STAGE MANAGEMENT

in the room share the responsibility of informing col­ laborators of discriminatory behavior. • Recognize that everyone is impacted when one per­ son is oppressed. White stage managers who are allies might be afraid of other people assuming they are speaking for, or silencing, a marginalized person. However, it is powerful for a White ally to speak for themselves and quickly and loudly name when racist behavior is present.

Tool: Opening Conversations by Acknowledging and Naming The stage manager is uniquely positioned to lead by example and directly address unspoken racial dynamics that influence the production process.

Practices • Acknowledge the racial composition of the room and explicitly state the racial dynamics in response to the work being produced. For example, stating to the company that you are part of an all-White stage management team managing an entirely Black cast. Or, naming that you are the only non-White member of a creative team. This practice fosters transparency by accepting that our individual racial identities have an impact on the process. • Manage casual comments rooted in racism and unin­ tentional microaggressions by identifying stereotypes

wE CoMMiT To ANTi-rACiST STAGE MANAGEMENT

161

within the work, such as Black bodies seen as property or criminal, “the magical Negro,” or “the Latin lover.” • Recommend that the director and creative team open conversations about race, racial identities, code-switching, and racial stereotypes during the early days of the process. For example, opening conversations about costumes, hair, and makeup are especially important since even within a multiracial cast, the default might be to white skin color and hair texture.

Tool: Compassion, Transparency, and Holding Space The stage manager can manage the daily process with compassion and can engage in transparent communica­ tion in service of removing perceptions of policing and overseeing, and to debunk notions of stage managers as officers. These anti-racist practices are especially impor­ tant when the stage manager’s racial identity has histori­ cally oppressed the cast member’s racial identity.

Practices • Listen, hold space, and advocate for non-White com­ pany members who share with you that they are expe­ riencing racial aggression from another collaborator. • Inform the company transparently that rehearsal and performance reports are for the creative and

162

wE CoMMiT To ANTi-rACiST STAGE MANAGEMENT

production teams to share information, not docu­ ments used to implicate performers. • Reveal why your stage management track necessi­ tates following a particular cast member or checkingin on certain performers at specific times. Typically, the reasoning has to do with safety and other circum­ stances. Sharing this information can alleviate feel­ ings of being surveilled or not trusted. • Apply a compassionate tone and demeanor when responding to lateness, prioritizing the person over the task. Allow the consequences embedded in a policy or guideline to be the penalty instead of punishing a performer with your words or behavior when a rule has been broken. The tools and practices outlined above are the founda­ tional beginning of our anti-racist stage management curriculum. Our work has been informed by many, including: Jones and Okun – www.whitesupremacyculture.info/ about.html Ibram X. Kendi – www.ibramxkendi.com/ Nicole Brewer – www.nicolembrewer.com/ Diversity & Inclusion Department at Actors’ Equity Association – www.actorsequity.org/resources/ diversity/ Our commitment to anti-racist stage management is imperative in this moment of awareness and vitally

wE CoMMiT To ANTi-rACiST STAGE MANAGEMENT

163

important in the creation of a truly just and equitable American theatre.

Note 1. This piece, We Commit to Anti-Racist Stage Management Education, was originally published on HowlRound Theatre Commons (howl­ round.com) on July 28, 2020.

164

wE CoMMiT To ANTi-rACiST STAGE MANAGEMENT

Recommended Resources

A 21st Century Ethical Toolbox. Fourth Edition. Anthony Weston. New York: Oxford University Press. 2018 All About Love: New Visions. bell hooks. New York: HarperCollins. 2001 And Then, You Act: Making Art in an Unpredictable World. Eighth Edition. Anne Bogart. United Kingdom: Routledge. 2007 artEquity – www.artequity.org/ Atlas of the Heart: Mapping Meaningful Connection and the Lan­ guage of Human Experience. Brené Brown. New York: Ran­ dom House. 2021 Authentic Leadership (HBR Emotional Intelligence Series). Har­ vard Business Review. Massachusetts: Harvard Business School Press. 2017 Comfortable with Uncertainty: 108 Teachings on Cultivating Fear­ lessness and Compassion. Pema Chodron. Colorado: Shambhala Press. 2018 Conscious Business: How to Build Value Through Values. Fred Kofman. Colorado: Sounds True. 2006 Dare to Lead: Brave Work. Tough Conversations. Whole Hearts. First Edition. Brené Brown. New York: 2018 Daring Greatly: How the Courage to Be Vulnerable Transforms the Way We Live, Love, Parent, and Lead. First Edition. Brené Brown. New York: Avery. 2012 Difficult Conversations: How to Discuss What Matters Most. Douglas Stone, Bruce Patton, and Sheila Heen. New York: Pen­ guin Books. 2010 Disability Language Style Guide – https://ncdj.org/style-guide Emergent Strategy: Shaping Change, Changing Worlds. adrienne maree brown. California: AK Press. 2017 Ethics of Care - https://ethicsofcare.org/carol-gilligan Flow: The Psychology of Optimal Experience. First Edition. Mih­ aly Csikszentmihalyi. Harper Perennial. New York: 1990

165

Getting to Yes: Negotiating Agreement Without Giving In. Sec­ ond Edition. Roger Fisher, William Ury, Bruce Patton. United Kingdom: Penguin Books. 1991Grit. First Edition. Angela Duckworth. New York: Collins Publishers. 2016 Harvard Business Review - www.hbr.org How to be an Anti-Racist. Ibram X. Kendi. New York: One World. 2023 How We Show Up: Reclaiming Family, Friendship, and Commu­ nity. Mia Birdsong. New York: Hachette Book Group. 2020 HowlRound Theatre Commons – https://howlround.com Intimacy Directors and Coordinators – www.idcprofessionals.com Just Us: An American Conversation. Claudia Rankine. Minneapo­ lis, MN: Graywolf Press. 2020 Leadership Without Easy Answers. Second Edition. Ronald A. Heifetz. Second Edition. Massachusetts: Belknap Review Press. 1998 Love and Rage: The Path of Liberation through Anger. Lama Rod Owens. Berkeley, CA: North Atlantic Books. 2020 National Center for Transgender Equality – https://transequality. org/ Phrases We Should Work to Eliminate in the Rehearsal Room – https://minnesotaplaylist.com/magazine/article/2020/phrases­ we-should-work-to-eliminate-in-the-rehearsal-room Servant Leadership: A Journey into the Nature of Legitimate Power  & Greatness. 25th Anniversary Edition. Robert K. Greenleaf. New York: Paulist Press. 2002 Set Boundaries, Find Peace: A  Guide to Reclaiming Yourself. Nedra Glover Tawwab. New York: A TarcherPerigee Book, an imprint of Penguin Random House. 2021 Sins Invalid: 10 Principles of Disability Justice – www.sinsinvalid. org/blog/10-principles-of-disability-justice Supporting Staged Intimacy: A  Practical Guide for Theatre Creatives, Managers, and Crew. Alexis Black and Tina M. Newhauser. New York: Routledge. 2023 Thanks for the Feedback: The Science and Art of Receiving Feed­ back Well. First Edition. Douglas Stone, Sheila Heen. New York: Viking. 2015 The 7 Habits of Highly Effective People: Powerful Lessons in Per­ sonal Change. 30th Anniversary Edition. Stephen R. Covey. New York: Free Press. 2020

166

rECoMMENdEd rESourCES

The Art of Gathering: How We Meet and Why It Matters. Priya Parker. New York: Riverhead Books. 2018 The National Disability Theatre Handbook: A Digital Resource, 1st Edition. Lead Author, Talleri A. McRae. (online publication date: July 1, 2023) – www.nationaldisabilitytheatre.org The Practice of Adaptive Leadership: Tools and Tactics for Chang­ ing Your Organization and the World. Fourth Edition. Ronald A. Heifetz, Alexander Grashow, Marty Linsky. Massachusetts: Harvard Business Review Press. 2009 The Thin Book of Trust: An Essential Primer For Building Trust at Work. Charles Feltman. Oregon: Thin Book Publishing Co. 2021 Think Again: The Power of Knowing What You Don’t Know. Adam Grant. Viking: an imprint of Penguin Random House LLC. 2021 Trans Language Primer - https://translanguageprimer.com We Will Not Cancel Us: And Other Dreams of Transformative Jus­ tice. adrienne maree brown. California: AK Press. 2020 White Fragility: Why It’s So Hard For White People to Talk About

Racism. Robin DiAngelo. Massachusetts: Beacon Press. 2018

White Supremacy Culture – www.whitesupremacyculture.info/

characteristics.html Why I’m No Longer Talking to White People About Race. First Edition. Reni Eddo-Lodge. New York: Bloomsbury Circus. 2017 Working with Emotional Intelligence. First Edition. Daniel Goleman. New York: Bantam. 2000

rECoMMENdEd rESourCES

167

Index

Access Coordinator 137 access needs 145–146 active listening 45 active shooters 36; see also safety actor absences 35–36, 108 Actors’ Equity Association (AEA) 2, 7, 105 aesthetic awareness 123, 133, 134 agency 140–141 Alcorn, Narda E., biographical details 1–5 allyship practices 160–161 anti-bullying policies 114 anti-harassment policies 114 anti-racist stage management education 109–113, 156–164 asset framing 100 assistant stage managers (ASMs) 11, 54, 55, 149 authenticity, communication 44–47 authority, formal and informal 34–36, 56, 61, 90 awareness of language 142 body language 50–52 boundaries 48–50, 123, 134 breathwork 127–128

168

Broadway 2, 3, 11, 33–34, 125–126 brown, adrienne maree 100 calling a show 66; see also orchestration care ethics 99–100 challenges: culture 84, 89, 91–95; ethics 117; formal authority 56; health and safety 106–107; opening conversations by acknowledging and naming 145, 161–162; relating to people 120, 141; stage plays 43–44; theory and practice 4 closing (final performance) 25, 150–151 clothing choices 143–144 collaborative culture 94–95 communication 41–65; authenticity 44–47; boundaries 48–50; conflict navigation 48; crafting and framing questions 57–60; cueing 66–69; defaults 42; economy of language 60–61; effectiveness 42–44; feedback 50; goal setting 123, 132–133, 134; inclusive language 62;

language of production 53–55; language of teamwork 55–57; non­ verbal 50–52; opening conversations by acknowledging and naming 145, 161–162; shared intentions 144, 150–151; styles and systems 41; technology and 52–53; tone 61–62 community building 151 compassion 162–163 confidentiality 107–110 conflict navigation 48, 132; culture clash 90–91; goal setting 124; tension points 75–77, 146–147, 150–151 consent, and intimacy 115 costume design 72, 75–77, 162 COVID-19 pandemic 102–103, 109, 156–157 cueing 66–69; see also orchestration cultural capabilities 91–95 Cultural Consultant 137 culture 81–97; challenges 91–95; diagnosing 89–91; discipline 84–86; four layers of 82–83; geographic 87–89; interior 83–84; production 86–87 depersonalizing feedback 141 derogatory terms 110–113 directly-framed questions 59–60 disabled access 145–146 discipline culture 84–86 diversity see inclusivity

economy of language 60–61 education: anti-racist stage management education 109–113, 156–164; inclusivity 138; stage management as a profession 2–3 emergency procedures 36; see also safety emergent strategy 100 emotional boundaries 49 emotional intelligence 119 the environment 28–40; formal and informal authority 34–36, 61, 90; genres 29–31; influencing safety 36–37; regulated and unregulated 33–34, 105; space and location 31–33 Equity, Diversity, Inclusion (EDI) Facilitator 137 ethics 98–117; confidentiality 107–110; core strategies 101–103; ethical frameworks 99–101; identity 103–104; incivility 113–114; intimacy 114–116; language 110–113; safety 104–107 experiential stories 6 extrinsic motivation 119 facial expressions 50–51 fear 139–141 feedback: communicating effectively 50, 65; conflict navigation 48; depersonalizing 141; dismantling perfectionism 147–148; inclusivity 146; Index

169

language of teamwork 55–56 first rehearsal 14–15 foreign culture see culture formal authority 34–36, 56, 61, 90 genres 29–31 geographic culture 87–89 Gilligan, Carol 99–100 goals: categories 123–126; goal setting 123, 124; importance of purpose 122–123; sample goals and habits 131–135 Goleman, Daniel 119 Greenleaf, Robert K. 100 habits 126, 131–135 hate speech 110 health and safety 36–37, 104–107 holding space 149–150, 162–163 honesty 98, 148 identity 103–104 immersive theater 36–37 incivility 113–114 inclusivity 137; access needs 145–146; anti-racist stage management education 109–113, 156–164; dismantling perfectionism 147–149, 158; empowering stage managers 137; feedback 146; inclusive language 62, 159–160; opening conversations by acknowledging and naming 145; power dynamics

170

Index

143–144; research and selfeducation 138, 158–159; shared intentions 144; tension points 146–147; terminology 6–7 indirectly-framed questions 59–60 individual agency 140–141 inequality 136; see also inclusivity informal authority 34–36, 90 interior culture 83–84 International Alliance of Theatrical Stage Employees (IATSE) 33–34 interns 19, 54–55 Intimacy Directors and Coordinators (IDC) 114–116 intimate moments 114–116 intrinsic motivation 119 Jones, Kenneth 157 judgment calls 106–107 language: awareness of 142; boundaries in 49; cueing 67–68; derogatory terms 111–113; economy of 60–61; and ethics 110–113; inclusivity 62, 159–160; of production 53–55; stage management team 6–7; of teamwork 55–57; translation 93–94; see also communication learning: anti-racist stage management education 109–113, 156–164; commitment to 1;

inclusivity 138; research and self-education 138 location 31–33 mentorship 121–122 microaggressions 136, 161–162 Mill, John Stuart 99 mindfulness 127–129 mission statements 130–131 monologues 71 motivation 119 Nine Phases see production process non-disclosure agreements (NDAs) 108–109 non-verbal communication 50–52 Off-Broadway 2, 3, 11, 33–34, 43–44 Okun, Tema 157 open-ended questions 57–60 opening night 23–24 oppression 136; see also race/ racism orchestration 66–80; cueing 66–69; relationships 77–79; time 69–73; timing 73–74; transitions 74–77 perfectionism, dismantling 147–149, 158 performances 24–25; see also opening night phases of production see production process physical boundaries 49; see also intimate moments

physical venue 31–32; see also the environment Porter, Lisa, biographical details 1–5 power 136–155; access needs 145–146; awareness of language 142, 159–160; community building 151; depersonalizing 141; dismantling perfectionism 147–149, 158; dynamics of 143–144; empowering stage managers 136–137; expression through language 61; fear 139–141; feedback 146; holding space 149–150; incivility 113; inclusivity 137; individual agency 140–141; opening conversations by acknowledging and naming 145, 161–162; orchestrating relationships 77–78; research and self-education 138; shared intentions 144, 150–151; tension points 146–147, 150–151 pre-production phase 11–14 pre-tech phase 17–20, 150–151 previews 22–23 production culture 86–87 production process 9–27; 1. pre-production 11–14; 2. first rehearsal 14–15; 3. rehearsals 15–17; 4. pre-tech 17–20; 5. tech 20–22; 6. previews 22–23; 7. opening 23–24; 8.

performances 24–25;

Index

171

9. closing 25; time

management 69–73

purpose 118–135; goal categories 123–126; goal setting 123, 124, 131–135; goals 122–123; habits 126, 131–135; the importance of “why” 120–121; mentorship 121–122; mindfulness 128–129; vulnerability 127–128 questions, crafting and framing 57–60 race/racism: anti-racist stage management education 109–113, 156–164; awareness of language 142, 159–160; cultural context 88–89; derogatory terms 111–113; hate speech 110; microaggressions 136, 161–162; see also inclusivity regional theaters 2, 3, 7, 11, 33, 106 regulated environments 33–34, 105 rehearsals 15–17; actor absences 35–36, 108; creating a safe environment for 36–37; cueing 66–69; first rehearsal 14–15; and genres 29–31; and IATSE rules 33–34; intimate moments 114–116; judgment calls 106–107; and previews 22–23; tech 20–22, 43, 75, 85; technical rehearsals 67–68; time

172

Index

management 49, 69–73; transitions 71, 74–77; understudies 24 relationships: collaborative culture 94–95; community building 151; culture clash 90–91; formal and informal authority 34–36; navigating and building 77–79; stage management team 6–7 safety: and ethics 104–107; influence of the environment 36–37 scene changes see transitions self-awareness 44–45, 124, 132–133, 142 self-care 124, 133 self-education 138, 158–159 self-presentation 143–144 servant leadership 100 sexual harassment 88–89, 114 shared intentions 144, 150–151 Shorters, Trabian 100 space: holding space 149–150, 162–163; venue and location 31–33; see also the environment stage management: language 6–7; as a profession 2–3; style 6; theory and practice of 3–5 style, stage management 6 teamwork, language of 55–57 technical production process 20–22, 43, 75, 85 technical rehearsals 67–68 technical skills 124, 131–132, 134–135

technology, and communication 52–53 tension points 75–77, 146–147, 150–151; see also power terminology 6–7 Theater Management education 2–3 time, managing the production process 49, 69–73 timing, influence of the stage manager 73–74 tone (communication) 61–62 transitions 71, 74–77 translation 93–94 transparency 149–150, 162–163; see also

communication

understudies 24 union regulations, and ethics 104–105

union vs. non-union productions 7, 33–34, 105, 143 unregulated environments 33–34, 105 utilitarianism 99 venue 31–32; see also the environment vocal tone 61 vocal warm-up 72–73 vulnerability 127–128 warm-up 29, 72–73 word choice see communication; language working style 84–85, 119; see also culture written communication 23, 130–131 Yale School of Drama 2–3, 128–129, 156–157

Index

173