Untitled, Round One.

I had no idea how much paperwork goes into being a stage manager. Kelly seems to have made lists and charts for just about everything imaginable. I also had no idea how much running around the stage manager does before tech week, acting as the communicator between all of the show's departments. It seems like the stage manager is mandated to be the one who always has their act together, knows what's going on, remains unbiased, and keeps an organized heir about themselves when everyone else seems to create chaos. I'm just really surprised at how one person is expected to stay so calm in the midst of such pandemonium. But, that's my job. Or, will be my job, someday. I'm not afraid of the career I've chosen, but I'm certainly not prepared for it. The assistant directors in our productions at school do half the things a real stage manager should do, which worries me when I get to the real world, since I've grown accustomed to only carrying half the load. I just need to remind myself that I can only grow from where I am now. I will gain more patience, organization, and levelheadedness as I continue with my study.

What it Recommended.

      So I open the book, the first thing Kelly clarifies in his first chapter is that no complete definition of a stage manager, or a complete list of duties a stage manager fulfills for every show. Of course there's taking down cue notes, calling cues, and making sure everyone involved in the production is content and under control, and taking charge of the show before, during, and after the night's run, checking, double checking, and triple checking each department's progress as the show draws nearer. I've summarized for myself that the stage manager is the invisible force that holds a show together and keeps everyone under control, without being too overbearing.
      So my next thought is, "Well, if there's no clear definition and just a wavering list of tasks, then what else can I do to better what I'm doing now?" The succeeding chapters mention and reiterate the importance of paperwork and keeping everything written down. I already do that in writing blocking, tech notes, cues, and such. However, I never thought that so many charts and lists would need to be made to keep an organized prompt book. So the first thing I thought of was how to incorporate that into what I already do. I thought of my drama class and the people I interact with everyday, 3 hours a day, and then some.
      And so the attendance sheet was born. I came up with the idea and discussed it with the director, who ended up stating it a mandatory protocol for the cast of our upcoming show, and our 7th period class. It is the stage manager's job to see to it that people sign in everyday, and let both myself and the director know where they are so time isn't wasted. It's worked pretty well so far, and I'll keep up with it during our shows through til the end of the year.

The Book.

                                       There are a few reasons why I chose this book. First, I stage manage. Second, this was the only book with a subject anywhere remotely close to what I do in theater on the Border's bookshelf amidst the acting guides, monologue books, scripts, Shakespeare plays, and Shakespeare play translations. Third, I figured that I might never again find a book as helpful and insightful as this one on a June afternoon whim. I've already learned a lot about my job from actually performing stage managerial duties during school and conservatory shows, but I have yet to shadow a professional stage manager or fully grasp a solid, professional technique and method to this madness for myself. 

I want to find the full definition of a stage manager, what kind of person a stage manager should be, and a full detailed list of what duties a stage manager should execute before, during, and after every run of a show. I want to know how I should organize myself and who I should be in communication with. When the director is absent or running late, what should I be in charge of? What paperwork should I be in charge of making, keeping, or sending out? How involved should I be in each aspect of the show? What is the best way I can organize myself and my prompt book? These are all questions I've had for a long while and have never really been able to answer. I know there's way more to being a stage manager than calling cues during a show. I chose this book to better myself and my methods as a stage manager now, and in the future.