Theatre Director's Manual
Theatre Director's Manual
Theatre Director's Manual
Introduction:
All the time people ask me, What does a director do exactly? The simple answer is the
director must learn the material, tell the actors where to stand, what to say, and when to say it,
and give long winded speeches and dinner parties. However, there is so much more to it than
that! A director is not just the boss who moves pawns like a chess player. The director is the one
to take every aspect of raw creative energy within the theatre, refine and channel it, and then
shape it into a meaningful art form. The director unifies the heart and minds of all those involved
and inspires them to give everything they have towards creating art.
Directing can at times be the most stressful and taxing job within a theatre. That said, it
can easily be the most rewarding experience you will ever have. Some things you will only learn
about directing from living it, but in this manual I hope to prepare you as much as possible for
the upcoming whirlwind of magic and hardships that is headed your way. When approaching
production time, buckle up, and remember - you always have resources to get the job done, the
Please note that this manual is not something that explores the art of directing but rather
step-by-step advice to help you manage the process more effectively. At the end of the manual
you can find a list of directing theory books that I would recommend, should you wish to know
Key Terms:
Cue: A predetermined moment in which a special effect is to take place. This can be music,
sound, lighting, set change, or anything that requires technical planning to implement.
Blocking: The directions given to the actors designed to help them maneuver about the stage
effectively.
Book: This is a typical way to refer to the script. When the actors are expected to be off book,
it means they are no longer allowed to carry their scripts onto the stage with them. This can also
be a term to keep in mind when selecting a musical - a book musical means it is one where the
music is a part of the scripted story, whereas non-book musicals are ones where the songs have
Dry Tech: A run through of each cue in a show in which the Stage Manager and Director lock
down the exact moments in which each technical cue should occur and who needs to accomplish
the task.
Wet Tech: The same as a cue-to-cue. This is the time in which all actors perform only pieces of
Cold Read: A set of dialogue given to auditioners in which they have had no time to prepare or
analyze the text. This is a good way to get an idea for an actors natural abilities rather than
Table Work: Table work is something you will want to pepper throughout the entirety of your
rehearsal time. This is the time in which you sit down with your actors and discuss their
character choices and what kind of things you want to explore within their character.
Conflicts: The list of dates and times in which an actor or crew member is unable to attend
rehearsal. Each and every member of a production is expected to create one.
Swatch: A square of fabric that indicates the color, pattern, and texture of a costume design.
Acting Areas: The sections of available space for the actors. Used in blocking to assist in
lighting design so efficient and meaningful use of lighting is achieved in each scene.
Key & Fill: The Key is the warm color and the fill is the cool color used on an acting area.
Tech Week: Referred to by some as Hell Week. This is the week in which all of the technical
components are added in. These components are things such as lighting, sound, costumes, set
Before you choose a show that you would like to direct, the next step is to assemble a
strong Production Crew who will act not only as your support network but your creative think
Music Director(Musical only): This person will be in charge of all musical aspects of the show.
The primary responsibility of the music director is ensuring that the cast has the music
memorized and polished come show-time. This usually means that the music director should
either create recordings or CDs with each part on them to maximize time spent on dynamic
changes and emotional depth in the music. Should there be live music in the production, the
music director will also be in charge of assembling the pit orchestra and finding a conductor.
Choreographer(Musical Only): This person will be in charge of all movement during the
music numbers. Typically in the professional world the director also serves as the choreographer,
but this is not recommended unless the director has a proficient amount of dance training
beforehand. The choreographer may also create instructional videos to either post on a shared
space for the cast or burned to a CD. This will ensure that the cast can work on the general
footwork individually and can spend more time on formations and expression.
Stage Manager (SM): This person will be in charge of handling most of the day-to-day work.
Disseminating weekly schedules, handling schedule conflicts and attendance, keeping directors
on track, arranging meetings, and much more will fall onto the stage managers lap, so it is
encouraged to have someone you trust or someone with high recommendations to fill this role.
Once the show opens, this person also takes charge of the directors responsibilities such as
giving notes, running the show, and overall maintenance. Additional tasks include transcribing
all blocking notes, standing in for absent actors during rehearsal, and more. This is your right
Assistant Stage Manager (ASM): Depending on the size of your cast, I would highly
recommend bringing on another person to help your SM. This person will generally be on duty
to help the SM with things such as line notes, contacting cast and crew for any reason, writing
Set Designer: The set designer will help the director create and realize the overall structure of
the set. A floor plan and sketches will be created by this person to present to the set foreman and
crew when the production team is ready to load into the performance space.
Sound Designer: The sound designer will create and program any and all sound effects
necessary for the production. The more clear and concise the director is with what sounds they
would like to have in their show as well as the context of the scene, the easier of a time the sound
designer will have in creating those effects. If the music for the show will be played digitally,
then the sound designer must also communicate with the music director for any changes that
Costume Designer: The costume designer will create designs with the director on the costuming
plans for each character. Creating meaningful costumes is important to assist the audience in
their suspension of disbelief, so make sure that any details in the costume are appropriate for the
character wearing it. The costume designer should create sketches of each costume as well as
provide a swatch of each so the director can have a clear picture of what the final costumes are
intended to look like. Once the designs are complete, this person will be in charge of creating or
finding each and every costume piece by the time the show loads into the performance space.
Lighting Designer: The lighting designer will be in charge of any and all lighting needs
including special effects via light source (i.e. fire, moonlight, water, etc.). This person will also
need to meet with the director to discuss the specific lighting needs in certain moments of the
show. Make sure to create a copy of all the blocking notes logged by your stage manager in order
to provide to the lighting designer upon load in. If the lighting designer is not already familiar
with the performance space they will be illuminating, make sure to also get them a lighting plot
efficiently. Creating a sturdy and safe set is important, as well as a visually interesting one. This
person should attend each set design meeting and analyze each idea the designer and director
may have for its practicality and viability. The Set Foreman is also in charge of assembling a
PLEASE NOTE: Some of these jobs can be completed by the director or stage manager as well,
but I would not advise doing so until you are more comfortable with directing. I say this simply
because there are a plethora of other things that will need the attention of both you and your SM
Communication:
No matter how confident you are in the people you have chosen to work with you, your
team will only be as successful as you allow them to be. If they are disconnected with your goals
and vision as the director, it may cause some difficulties in the production. Keeping constant,
clear communication with each member of this group is of the utmost importance to keep the
process flowing smoothly. I cannot stress this point enough! A breakdown in correspondence
between directors could have hugely negative results in any of these aspects. So make sure you
are always checking in with each other and discussing any potential roadblocks or difficulties.
Most remarkably, the overarching theme weaved through all the qualities which makes a
material. Theatre may be a community-driven process, but the material should connect with the
director on a personal level. Numerous studies show that passion in a leader is the leading factor
in a successful team, so choose a musical that you resonate with on some level first and
foremost.
First, a director must also be aware of the staging demands for the show they are
selecting. The size of the space may play a factor but I personally find that as long as the cast
size doesnt overwhelm the facilities, smaller venues tend to encourage more creative use of the
stage. However, I would also encourage a close look at set change demands as well. A slow or
clumsy set change could have a negative impact on the flow of the production, so it is important
Lights and Sound are other key factors to be aware of. Some productions can call for very
specific lighting or sound needs as per contractual obligations, and some theatres may not be able
to address those issues. So always check with the theatre manager if you have any questions
The director must also be aware of the costuming needs of the potential show. A modern
era play that takes place in Manhattan will be much easier to costume than a Renaissance era
aristocratic play. Make sure that if you are proposing a play with extravagant costumes that you
Next, it is important to know a little about your community and who may come audition.
That isnt to say that you wont see new faces at every audition, but realistically, unless you
know that you have a bevvy of professional singers on hand, I wouldnt suggest performing the
Magic Flute or The King and I. Other things to keep an eye out for are the age range of
characters you need to fill, and the gender ratio in shows. Some shows such as 70 girls, 70, have
predominantly older women, while a show such as The Outsiders calls of teenaged actors. So
make sure that your community has actors that can ostensibly fill every role.
Finally, make sure that you know what messages you want to share with your selection.
When themes are unclear to the audience, it is much easier for them to lose interest. Make sure
that you know what you want to say from the very beginning. As the old adage goes, Begin
Research is Key:
Once you have chosen a show, it is important that you do your homework. Learn
everything you possibly can about the piece. Make every choice a meaningful accentuation of
the themes and ideas, and write all of these ideas down as you go!
During your research phase, try to develop a general idea of how you envision the set
looking for each scene and how you expect the actors to maneuver through the scenes you create,
which is also referred to as blocking. Be sure to write this all down, because these thoughts will
inevitably turn into blocking notes or the specific moments in which the actors are to move and
the specific place in which they are to end up. Nothing can be more confusing to an actor than a
director who improvises stage directions. Doing so can easily lead to awkward movements or
rough transitions for both the actors and the scenes in general.
When jotting down your blocking, create a shorthand that is easily discernible for both
you and your stage manager because you will both be referring to your design notes frequently
during the process. This pre-existing theatre shorthand is most commonly used in the performing
Stage Left (SL): The left side of the stage from the actors perspective facing the audience.
Stage Right (SR): The right side of the stage from the actors perspective facing the audience.
Cross (X): The term to signify that a character is to move from their current location to another
Important Dates:
Costume Parade: A staged showcase of each costume on the character for which it is intended.
Use this day to look for and work to correct any potential costuming issues that may only arise
when the actors try on their outfits for the first time.
Off-Book Day: This is the day in which your actors know they are no longer permitted to bring
their script on stage with them. Should they forget a line after this point, they may call for help
from the SM or ASM, but they may not go get their script.
Off-Line Day: As you may have guessed, this is the day in which actors may no longer ask the
SM or ASM for line assistance. From here on out, whomever is taking line notes should provide
each actor with a list of pages in which they made mistakes on their lines.
Tech-Day: Typically a day-long event in which the backstage crew works to incorporate the
sound, light, and set changes to the show for the first time. After each cue is determined and
lines of dialogue and song to facilitate a simulation of how the cues should work in an official
performance.
Load-In: The day in which your cast and crew can officially begin moving to the designated
performance space. If any set pieces or props were created before this day, now is the time to
arrange to have them moved to the proper space. If not, now is the time to begin building the set
with your Set Foreman as well as creating any props with your Props Master.
Production Meetings: Regular meetings should be held with your production team to ensure
that everyone is on the same page. This is also an opportunity to use your team's collective
abilities to problem-solve any anticipated difficulties coming up. These meetings typically dont
have to last longer than an hour and should include any and all thoughts or concerns from every
Sitzprobe(Musical Only): Should your production require live musicians. Two or three days of
rehearsal should be dedicated to sitting down your actors and musicians together and working
through the music to find and correct any problem spots. Usually scheduled to be anywhere from
When it comes to scheduling rehearsal, a rough outline of how the cast can expect the
whole process to go is a good start. This outline should begin with the days you held auditions
and end with the closing performance. This overview schedule is important to provide your cast
and crew a tangible layout of the commitment ahead of them. It also allows them one more
opportunity to bring any potential conflicting days in actors personal schedules to your
attention.
cast:
~ January 2016 ~
Sun Mon Tue Wed Thu Fri Sat
1 HAPPY NEW 2
YEAR!
31 Notes:
Staying somewhat vague on specifics in the overview allows your production team some
room to make adjustments when necessary and give extra time and attention to things that may
I find it best to disperse a weekly schedule that involves specific meeting times and
location. At the end of the last rehearsal of the week, budget about a half an hour to sit down
with your stage manager and fellow directors and discuss what needs to be covered the following
week- being careful not to schedule any cast member who has a predetermined conflict. Upon
reaching an agreed-upon schedule, have your stage manager type it up and disperse it to the cast
via email. Below is an example of the weekly schedule format I ask my stage managers to use
Monday:
Blocking Rehearsal w/ Director
Location: Brighton Academy (1121 NE 7th St, Grants Pass, OR 97526)
6:30-7:10pm - pg 1-4 (Actors Called: INSERT NAMES)
7:10-7:40pm - pg 34-35 (Actors Called: INSERT NAMES)
7:40-8:20pm - pg 26-30 (Actors Called: INSERT NAMES)
8:20-9:00pm - pg 21-23 (Actors Called: INSERT NAMES)
Tuesday:
Blocking Rehearsal w/ Director
Location: Brighton Academy (1121 NE 7th St, Grants Pass, OR 97526)
6:00-6:45pm - pg 41 - 44 (Actors Called: INSERT NAMES)
6:45-7:30pm - pg 77 - 80 (Actors Called: INSERT NAMES)
7:30-8:15pm - pg 14 - 17 (Actors Called: INSERT NAMES)
Wednesday:
NO REHEARSAL! Take the day off! Review your stuff!
Thursday:
Blocking Rehearsal w/ Director
Location: Brighton Academy (1121 NE 7th St, Grants Pass, OR 97526)
6:45 -7:30pm - pg 6 - 9 (Actors Called: INSERT NAMES)
7:30-8:15pm - pg 36 - 41 (Actors Called: INSERT NAMES)
8:15-9:00pm - pg 64 - 65 (Actors Called: INSERT NAMES)
Friday:
Blocking Rehearsal w/ Director
Location: Brighton Academy (1121 NE 7th St, Grants Pass, OR 97526)
6:00-7:00pm - Finale, ALL CALLED (pg 47 - 58)
7:00-9:00pm - SLOP THROUGH ACT 1 (ALL CALLED)
In the above example you may notice how meticulous I am with whom is called for what
times. Trust me when I say that when it comes to making schedules the directors must keep one
thing in mind before proceeding: the more you show your cast and crew that you appreciate and
respect their time, the more they will be willing to give to you and the production. In the first
several weeks of rehearsal, feel free to arrange calls for specific scenes to optimize everyones
time.
The caveat to this is, of course, when the director feels ready to begin scheduling full run-
throughs. The cast must understand that while you will always do your best to value their
contributions, they may have times where they are sitting around while you are running the show
in chronological order. During that time, actors are free to do their own personal work or play
games so long as they are quiet and maintaining awareness of their upcoming cues.
All of the logistics seem to be taken care of for the time being, so lets move on to setting
up for auditions. In order to ensure that you get enough actors to audition, you must be sure to
spread the word however you can. Communicate with the theatre manager (or other designated
contact) of the venue you are working through in order to create a facebook event, fliers, and
anything else that you think might help increase awareness of the auditions. On this be sure to
include audition and performance dates, as well as what they can expect to encounter during the
nights of auditions. Be sure to also include information for an extra day of auditions known as
callbacks. These are an additional audition night in which all satisfactory actors from the
previous nights come back and show you more of their talent to help you make your casting
decisions a little easier. You may not always need to use it, but more often than not, youll be
In a standard musical audition, the actors will be asked to bring their own musical
number to showcase vocal ability and are usually asked to do some basic dance steps with the
choreographer as well.
As for auditioning acting skills (in either musical or nonmusical), there are two viable
options that I have used: pre-rehearsed monologues or cold-reads. While the debate rages on for
the most effective way to assess an actors abilities, I myself am fond of the cold read audition
when it comes to musicals. The actors already get the chance to show you what they can look
like with rehearsal time in their song selection, but a cold read shows you what their acting
instincts are on the fly, which can prove to be invaluable when considering casting a part that
requires a sharp comedic timing or crisp physicality. Of course, it is ultimately up to what you
and your team would like to see, so just make sure that you are allowing your auditioners to
really try and prove themselves to you and that you and your team are receiving the information
you need in order to cast your show to the best of your abilities.
In a professional setting, the actors would bring in a headshot and a theatre resume to
give you an idea of their of experience and ability. In the community theatre setting, it is
generally more preferable to provide the aspiring actors with an audition form to fill out and
hand to your stage manager upon taking the stage for their try-out. Below is an example of this
Audition Form
Name: ______________________________________________ DOB: _____________ Date: ______________
Vocal Range: _______________________ Audition Song Title: _____________________________________
Phone(s): ___________________________________ E-mail:________________________________________
What role(s) are you trying out for? ____________________________________________________________
Will you accept any role? (Circle) YES NO If no, which ones? _____________________________
Are you willing to cut/color your hair/facial hair for this production? YES NO
If you arent chosen for an acting role, check the below position(s) youd be interested in:
Backstage Crew ____ Set Crew ____ Sound/Lights____ Props ____ None ____
What is your previous experience? (Show title, role/position, school/company, and year)
*If no theatre background, give any related experience you may have.
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
______________________________________________________________________________________
Other special talents or training? Give details.
___________________________________________________________________________________________
_________________________________________________________________________________________
Why do you feel you would make a good addition to the Urinetown cast and/or crew?
___________________________________________________________________________________________
___________________________________________________________________________________________
________________________________________________________________________________________
Rehearsals will start INSERT DATE HERE and, with holidays off, will run until the performance days, which
are INSERT DATE HERE. Will you be able to attend all performances, including tech and dress rehearsals,
which are the two weeks (including weekends) before the show opens? Please also write down any conflicts you
know of between start and end date.
___________________________________________________________________________________________
___________________________________________________________________________________________
___________________________________________________________________________________________
_______________________________________________________________________________________
Please write your full school/work/conflict schedule on the back of this paper. If you have anything else you want
us to know, write it on the back as well.
It Takes A Village...:
Casting your show will more than likely be the most difficult step in directing. If you
have done all you can to get the word out about your auditions, then ideally you will have an
abundance of talent to choose from. However, as some experts say, Directing is 90% casting
choices, and 10% everything else. While I dont wholeheartedly agree with that statement, I
think there is some merit to the idea. After all, the right actor in the right role can make a big
difference. This is why I recommend you employ the concept of what I like to call Council
Casting.
Theatre arts is such a collaboration-driven pedagogy, its strength comes from folks of all
different viewpoints and walks of life to combine their talents to create art. It is because of this
notion that it feels strange that the director is the only one to make decisions on who fills the
roles. Therefore, I developed a democratic system in which the Director, Music Director,
Choreographer, Stage Manager, and Assistant Stage Manager also take notes and express their
opinions on auditions.
Of course, ultimately the director will still have the final say, but keep in mind that these
people sitting beside you also have to work with the cast for just as long. So if they dont feel
comfortable with one of your choices, please be sure to listen to their concerns and allow them to
Should you feel less than comfortable with a board-of-directors-esque casting format, the
director is of course free to make casting decisions alone. Just be sure to account for any
significant potential difficulties an individual may have in any role you consider them for. This
can include scheduling, behavior, and work ethic. If any decisions prove too difficult, it is
Around the time that your cast and crew are preparing themselves to move into the
performance space, your production team should be working on assembling a team of backstage
operators. The tech crew, as they are sometimes referred to, are responsible for performing any
task to help keep the show moving smoothly. Being on the tech crew is a relatively thankless job,
so be sure to always let your crew know how much you appreciate their hard work. The tech
Light Board Operator: This is the person that will press the button to proceed through the light
programming your Lighting Designer provided you with. Their job is to listen to the Stage
Manager and wait for their signal to proceed to the next cue. Additional training includes the
Sound Board Operator: This person will be trained by the Sound Designer to annotate each
sound with a specific cue as determined by the Stage Manager. Each sound effect must be timed
correctly. If music is also a part of your show and it is not live, then the sound board operator
must be familiar with those cues as well. Additional training includes adjusting volume and
Set Change Crew: These people are in charge of handling the transition of any set pieces
between scenes. It is important that this crew moves as efficiently and silently as possible. Actors
who are not immediately needed in the following scene of the show may be able to take part in
Designer and Director. Any actor or tech person can take part in this, but if you ask your cast and
crew to devote their free time helping you paint the set, be sure to buy them lunch or something.
Curtain Operation: In some situations, the show will begin once the curtain has been pulled
open, and will either reach intermission or the end once it is closed. This job is for someone who
can pay close attention to the moments that the audience should no longer be spectating. It can be
very awkward for actors to have to wait on a slow curtain, or worse yet, one that closes before
Props Master: Once the show has begun running, there must be a tech person in charge of
ensuring all props are present and accounted for before and after every performance. This job can
often just be given to the person who had originally assembled the props in the first place, but it
Costume Master: The Costume Masters job is to ensure that any wardrobe malfunctions are
handled appropriately. Any ripped seams must be reswen, and any irreparably damaged pieces
must be replaced as soon as possible. Whomever is chosen for this role is encouraged to have at
Make sure the people running tech are trustworthy and capable. Moreover, the techies do a lot of
the manual labor for very little acknowledgement, so make sure to thank them often.
Cast List:
After you and your crew have made the final casting decisions, it is time to contact
everyone who auditioned - and I mean everyone! It may not be easy to contact those who didnt
make it in, but they will appreciate and respect that you were forthcoming.
Alternatively, the actors that you didnt cast can also serve as backstage help if they
indicated they would like to. It will allow them to still take part in the fun, and it will save you
and your Stage Manager a little time searching for stagehands later.
Now it is time to bring all of these people you have casted in your show and gathered as
your production crew to meet each other and prepare for a quarter of their upcoming year with
each other. In the Meet and Greet, the directors and stage manager share the schedule as well as
This is the opportunity to really set the bar for how the cast will be interacting - so make
it fun, serve food. If your show centres around a specific culture or talks about any food dishes,
make those so your cast can start making real world connections to the material!
Play a couple of ice-breaker games before diving into the details of the process. Silly
activities such as name games or tongue twisters can be particularly effective. Other things such
as asking each person to share an innocuous fact about themselves, like what their favorite color
The most important part of the meet and greet is the readthrough of the script. Once
everyone has had a chance to review guidelines and get comfortable with each other, pass out the
scripts and begin a read through of the material. As the readthrough takes place be sure to stop
and show each song as it comes up in the flow of the story. This will help begin thinking about
Rehearsal structure is always going to be situational, and as such, it may need to shift frequently
to adjust to any unforeseen obstacles. It will heavily depend on your production teams schedules
and your actors conflicts, so weekly schedule tweaking will more than likely always be
necessary. The most important thing is to make sure that the actors never feel like their time is
being wasted. They are volunteering huge chunks of their lives to help you make the show
Ideally in the musical rehearsal process, as I said before, would begin with music and line
work. Alternate days in which the music director gets to have the cast to run songs and days in
which you have the cast to run the in between scenes and basic blocking. The exact structure
isnt important, but by the end of the first month, the entire song book should have been
rehearsed, and a majority of the basic scene structure should have taken place.The next chunk
should be dedicated to dancing and refining the movement between songs to be more fluid and
interesting. Be sure to create moments in the blocking that can easily lend itself to the
Non musicals are much easier in terms of scheduling rehearsals. All you must do is
decide what order in which you will rehearse the scenes, and add in extra days for things such as
character development, team building, and any specific needs for the show such as fight
choreography.
During the final stretch of rehearsal will be when things tend to get intense. Spend what
remaining time before load-in working on any rough spots in the music or dance, because there
wont be much room for it afterwards. A solid goal to have is to be able to perform full run-
throughs of the show without any major hiccups by the time you move into your final
performance space.
From here on out, just make sure to work on polishing everything up and getting it
Upon moving into the performance space, set up a final meeting with each of your
designers to ensure that they are on their way to completion, and if not, what you can do to help
Have a costume parade as soon as possible after moving onto the stage. This isnt a final
costume check though. There will no doubt be alterations and substitutions that will need to be
At this point sound should also be completed. Any and all alterations should be
communicated by the music director and choreographer as they arise to give the sound designer
plenty of time to put the work in. The idea is that the sooner you have the final cuts of all sound
effects and music, the sooner your cast can become comfortable with how they affect the show.
The lighting design wont be able to begin until you load in, and will more than likely
require a sit-down walkthrough of each scene with the light designer so they can know what need
to be illuminated and where. This is where a blocking layout by your SM and ASM is a must.
Showing your lighting designer diagrams will be much easier than asking them to imagine it.
Most importantly of all, get the set foreman equipped begin constructing your set as soon
as possible and be sure to check in daily to make sure you answer any questions or pick up any
load-in time is also when you can implement off-book rehearsal. Then after a week or so enact
the off-line rehearsal. Your actors will need to use every second of this time to get their faces out
of the script and into the emotional truths behind the show, so the sooner you are able to do so,
the better.
Show Time:
Youve finally done it. It has been a long and tough road, but you and your team have
finally crossed the finish line. Make sure to take the opportunity to share things you appreciate
about each and every one of your cast and crew at this point. They have no doubt given you a lot
of hard work for this fast approaching moment of the first audience, and really letting them know
what they specifically have contributed to your overall success is a must. I personally do this in
the form of writing simple thank you notes in cards and giving each one to each individual as
well as a flower. You are free to use this idea if you wish, but I encourage you to find your own
way to give thanks to the folks that helped you succeed - it will mean a lot more!
Either way, come opening night, it is standard practice in community theatre to hand the
reigns over to your stage manager at that point. From here on out, your SM handles the overall
procedure and run of each performance, and you are free to enjoy the show. Come watch it once
in awhile as well! Like a proud parent, your cast will always find ways to impress you, so let
them. If at any point while watching a performance you see something you feel the urge to give a
note about, please refer the note to your Stage Manager and allow them to take care of it. Likely,
if it is something that cause an unexpected hiccup in the show, the SM already caught it and
made a note.
From here on out, simply make yourself available should your team need any help, and
Recommended Works:
would like to point you in the direction of texts that will provide you with that information. Rest
assured, the books and authors I am recommending are ones that I have personally used to
Poetics by Aristotle
Additionally, I will include works that have been recommended to me by my peers below:
** For more information on Stage Managing, please refer to Madeline DeCourceys Stage Managers
handbook likewise written for the Josephine County Cultural Coalition**