Introductory Study in Stage Management
Such a course should would outline the job as a whole. It is reasonable to expect basic theatre knowledge going into the course, but an instructor should not rely on previous stage management experience. My course charts the role of the SM and ASM on a single production from beginning to end, exploring the focus they have during each phase of the process, and the paperwork or other responsibilities of that time. In order to provide a common context for all enrolled students, much of the course centers on a mock production of a single play everyone reads at the start of the semester. More detail on an introductory course can be found
Advanced Study in Stage Management
This is the opportunity to focus on one or more specific components of the job to develop skills in that area. My current students take this course more than once in their college career, allowing me to address a range of individual topics in depth, and to rotate those topics as best suits the current students enrolled. Sample semesters have included: recording blocking and calling cues for a musical; leadership and management styles; understanding AEA; and paperwork and technology. More detail on advanced courses can be found
Production Basics
(1) The basics of acting and directing. Given the role the SM plays after a show opens, it is essential to have grounding in basic acting technique and the directing process. It is part one of acquiring the knowledge base and specific language to successfully communicate with your team.
(2) The basics of theatrical design and production. Similar to the acting and directing basics, a successful stage manager should take introductory classes in design and stagecraft. The SM may never participate in scenic or costume construction, they but do need to understand how to read a groundplan and to recognize which events in rehearsal may impact the plans of a costume designer. And because the stage manager is directly responsible for the execution of lighting and sound during performances, I recommend specific study in those areas. If an instrument malfunctions during a performance, the ability to “speak light board” and talk an inexperienced operator through parking a unit or bringing up another channel is invaluable. It is typical in larger professional theatres for the SM to work with the head electrician to run the check of each light before performances, making it important to know how to recognize when something is out of focus. And remember that in small professional settings, it is not uncommon for the stage manager to run the light board or sound console during performances.
Context Courses
The stage manager needs to read plays and know how to understand and contextualize them. Directorial concepts and design choices draw on the expansive history of our art form, and your own ability to successfully complete a production analysis necessitates understanding styles, trends, and terminology. Outside the theatre department, general education or elective courses that expose students to history and literature writ large, psychology, sociology, and languages will be a direct benefit to their future careers.
Practical Experience
Although classroom instruction is part of the equation, the best way to learn is through hands on experience. Even very clever in-class exercises cannot replicate actual work on a show. Educators in the position to organize practicum opportunities for aspiring stage managers should seek to provide them a range of experiences
(1) A range of SM and ASM assignments over a student’s career. In the context of the specifics of your season, expose students to as many directing styles, theatre spaces, and play or musical choices as you can. Of course a student should work as an assistant stage manager before their first turn as SM, but remember that the SM and ASM have complementary roles on a production, meaning students are best served by a mix of assignments throughout their college career. Working as an ASM as a junior or senior is not a “step back.”
(2) Crew work. My preferred assignment for a first-semester stage management freshman is as a member of the run crew for a show. It is certainly helpful to use a shift plot before you are asked to create one, and the student gains the opportunity to learn the workings of backstage and the culture of your department before taking on a role of responsibility within it.
(3) Other Production Roles. I like my students to spend a show as a props assistant, or even a props master if they have the requisite artistic ability. It is a good outlet for organizational and time-management skills, and you will never write a prop note the same way again after spending an entire production reading someone else’s notes! Similarly, I seek to solidify the technical knowledge from lighting or sound courses with assignments as board operators. In addition to increased familiarity with the equipment, the student will have the chance to watch the show multiple times while listening to the call, providing a chance to see the required specificity and precision in action. If students have other areas of interest, I work with them to carve out those opportunities as well.