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The ptg stage manager’s handbook adapted from “The Stage Manager’s Handbook: Eldred Theatre, Case Western Reserve University, Fourth Edition”


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Appendix A




Auditions

Once auditions begin, the stage manager, like a good operating-room nurse, has the necessary implements in the director’s hands before he asks for them.


You should book the audition area (typically the Black Box). Ensure that it is clean, quiet, and heated (or cooled) for everyone’s comfort. The area in which the actors will appear is well lighted and set with several chairs. The director should have an uncluttered area in the auditorium or toward the back of the audition room, with a small shaded light, enough to give him illumination but not enough to distract the actors when he takes notes. He has sharpened pencils and a list of the characters to be cast; the stage manager makes sure the director has his script (many directors constantly misplace this most necessary tool), and a pitcher of water and a glass if they feel like being extra-considerate.
Most directors will want to say a few words to the applicants before beginning auditions. At that time, the stage manager will shepherd all actors into the audition area, whether or not they have finished their applications, to hear the director.
If an actor expresses a need to leave early, the stage manager finds out if the director wants to hear the actor again; if not, he dismisses the actor cordially.
Following the audition, the stage manager keeps the administrative paraphernalia with him and gives the director the cards he needs for referral in the time before the next auditions.
Ask your director for their personal preference regarding auditions. Remember every audition is different.

Eldred Theater Audition Form
Name: ____________________________________________________

Address: __________________________________________________


__________________________________________________

Telephone: _____________________ Email: _____________________________

Year and Major(s): ___________________________________________________

Height: _________________ Hair Color: __________________ Weight: ____________

Recent Theater Experience:

Other Performing Experience & Special Skills (singing, juggling, musical skill, etc.):




***Possible Rehearsal Conflicts***

Check if interested in:

( ) Lighting Crew

( ) Set Construction Crew

( ) Sound Design/Operation

( ) Costume Crew

( ) Asst. Stage Manager

( ) Asst. Director



Appendix B
Making a Prompt Book
To make a prompt book you will need a 2” binder and a set of tabs.
Photocopy the script onto 8” by 11” sheets of paper, one side only. You can also enlarge the script on the copy so it is easier to read in the dark, or leave it as it is in order to leave more room for diagrams and cue markings.
Make tabs for each scene or French scene so that you can quickly turn to any scene without thumbing through the script. You can purchase tabs at the Bookstore (or any Office Supply store) or you can make your own using tape. Each tab should be labeled. Place the scene tabs on the last page of the previous scene, not the first or second page of the scene, so that the tabs will open your script properly, with the desired scene immediately displayed.
Rehearsal schedules, pronunciation guide, plots, set sketches and cast lists should also be tabbed so that you can turn immediately to whatever information you might need during a rehearsal without wasting time by shuffling through a lot of paper.
The prompt book should contain all blocking notation in addition to cue and warn marks. Cue and warn marks should be made initially in pencil, but by preview should be written over with pen so as to stick out better in the dark booth. You may also choose to highlight your cue and warn marks to make them even more obvious.
Imagine that your prompt book is actually for somebody else who needs to call the show. It should be readable by anyone who would come across it with little trouble. For example: if you have established your own method of coding your cues, write what the codes mean in the margin of the first page.
Once dress rehearsals have begun and you have moved into the booth, you should leave your promptbook locked inside the booth for safekeeping.
To view previous examples of prompt books contact the technical director of PTG.

Appendix C
Making a Master Calendar
Time, management of time, and the coordination of the cast, crew, and staff are very important to every theater. In order to keep everyone on time and their efforts meshing smoothly, it is desirable to post a master calendar – and only one master calendar – in a convenient place so that it is available to everyone on the staff. The master calendar can be your most effective tool for coordinating the staff.

The master calendar should be large enough so that several lines can be written legibly in the space allotted for each day. It should, of course, be developed after consultation regarding the needs of producer or management, department heads in various phases of production, and above all, after conferring with the director. The calendar should list many of the following kinds of events:




  • Deadline for set drawings/ line drawings

  • Deadline for lighting plans

  • Readings/Auditions

  • First Rehearsal

  • All Subsequent Rehearsals

  • Work Calls

  • Production meetings

  • Deadlines for line memorization

  • Deadline set completion

  • Deadline for completion of sound effects

  • Focus of lights

  • Costume Fittings

  • Photo Calls

  • First Tech Rehearsal

  • Second Dress

  • Opening Night

  • All performances

  • Closing Night

  • Strike

The master calendar should not be placed on the callboard or made available to the cast under normal circumstances. It is kept away from the cast members so that actors do not become confused about their rehearsal schedule or concerned about technical difficulties. All information that cast members need from the master calendar should be made available to them by other means, particularly the rehearsal schedule.


Site for calendar templates:

http://office.microsoft.com/en-us/templates/CT101043131033.aspx


You might also consider using Google calendars.
www.google.com/calendar. Or, from the address http://webcalendar.case.edu, you may use your Case ID to sign in.







Appendix D










The Laramie Project Contact Information



Cast





























Name

Character Name

Phone Number

Email




Bart Keyes

Greg Pierotti

216-721-3208

brk8@case.edu




Bethany Tinlin

Barbara Pitts

216-754-3361

bjt6@cwru.edu




Erin Bunting

Amanda Gronich

419-656-7079

thebuntings@buckeye-express.com




Matthew Whilden

John McAdams

216-754-1151

mww8@case.edu




Meg Wuerderman

Mercedes Herrero

216-754-1916

mcw13@case.edu




Ryan Santa

Andy Paris

216-754-1374

rps13@case.edu




Susannah Handley

Kelli Simpkins

216-754-2513

srh16@case.edu




TJ Gainley

Stephen Belber

216-754-2189

tjg18@case.edu


































Production Staff




























Personnel

Name

Phone Number

Email




Director

Stephen McCue

368-2858

smshore@adelphia.net




Stage Manager

Lindsey McGowen

cell: 216.269.2538

home: 216.795.0333



ldm9@case.edu







Assistant Director

Peter Nalepa

754-2422

pan5@case.edu




Technical Director

Homer Farr

368-4870

hjf2@po.cwru.edu




Production Manager

Scarlett Grala

368-4868

ksg@po.cwru.edu




Scenic Designer

Russ Borski

368-5927

rxb33@po.cwru.edu




Costume Designer

Kathleen Burke Clay

368-2856

kxc48@po.cwru.edu




Sound Designer

Josh Senick

233-9489

jxs181@po.cwru.edu




Lightboard Operator

Jessie Rudolph

754-1943

jrr10@po.cwru.edu


















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