28 Stage Management

Stage Management

I know in terms of stage management, you really have to be very moldable in terms of your personality or your temperament to fit what the director wants or maybe not what they actively want, but you have to kind of suss out what their personality is and fit that. Because stage managing is not glamorous. It’s a lot of, people saying jump and you saying “you don’t even have to tell me how high, because I’m reading your mind and I’m just, I’m going to do it and that it’s going to be great”. You are really functioning in the background, and if you’re noticed too much, it means you’re not really doing your job in the most efficient way.

So yeah, it’s really about like matching personalities. And if a director feels like they can come and talk to you about things and they don’t have to ask you too many times for things, or if they do feel like you’re kind of reading their mind, then you will get asked back because they want somebody that’s easy to work with. They’re doing so much and their job is so stressful that having somebody that knows how they operate is going to take a huge load off of their shoulders. And that’s, it’s learned. You just have to go in and at the beginning, just say, I’m new, just tell me what you want. And then after a few weeks, you get into a groove and it’s good, but I guess it’s kind of like that in every career in theatre and in the real world, you have to just kind of adapt. But with stage management, maybe more so. – Nikki Vigneault, Former Production Manager at Theatre New Brunswick, Fredericton, NB

Pathways

I trained at the University of Saskatchewan as an actor and so that was a long time ago. And I actually never even took the stage management class, which is funny, but I have, I’m a visual artist as well. So, I kind of came to theatre in many different ways. So, acting, directing, designing arms, all, all of those kinds of things. And so, I quit theatre for a while, stopped doing it and did managing retail. So I managed some bars and some clothing stores for a long time. And then of course, it creeps back. So I started doing theatre again and I found my passion for stage management, especially having done a myriad of roles in the theatre. I think that it kind of was a good place for me, so I kind of fell upon it, I guess, and began my apprenticeship at Persephone. And then I’ve worked with most of the theatre companies in the city now, and I do regularly, so. – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

Most stage managers do formal training. Many post-secondary institutions offer a stage management or production stream, then have students stage manage productions as applied learning. Once training is complete many immediately begin apprenticing. For professional theatres there is an apprenticeship track set-up through CAEA allowing for continued hands on learning, the ability to work with more experienced SMs, and to build up your credits to eventual join CAEA.

I do think that getting those apprenticeships are really valuable because each show, like I said, teaches you something different and by the end of it you really have a good backbone to start working from. And so being able to just dive in and, and just watch everything. As a stage manager, I think that watching how every director is different, how actors take notes, what can you do to help the costume designer? What are all those things, are some things that I see some apprentices not paying attention to, but I think that that makes you so much more valuable in the room when you know what other people need and you how to do it and they don’t even know how to ask for it themselves. But if you’re able to say, I know I’m going to do this check-in, it’s going to make your life easier. I think that that is really beneficial and something to pay attention to when you’re apprenticing. – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

Of course there are also those who come to the work from other areas in theatre. If it becomes clear you have the organizational skills and personality for it, stage management opportunities with smaller theatres will likely be offered to you before acting or directing gigs.

Getting Work

I found social media has been really helpful. There’s Facebook groups and all kinds of things where any question you can think of, someone else has come up with the same problem. And so you can often find answers, but also build relationships with people that you would never have got to meet. And so, I’ve met people talking online that are from Toronto or Vancouver, and then all of a sudden, a gig comes up and they’re like, I know somebody. And so that’s been really beneficial and really just sending out your resume and making those calls and then actually staying with it and kind of building that relationship instead of just applying and disappearing. – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

Your resume will be specific to theatre, see the example template. Generally, you are submitting a cover letter and resume to theatres that you want to work with, usually addressed to production managers. Or, when you start you may also reach out to artists who are self-producing in hopes of getting some experience. Fringe is a great training ground for stage managers as most Fringe festival productions are desperate to find a good stage manager. It likely will only be for a cut of profits as opposed to a full fee, but is likely worth the investment in early days as you build up your resume. When you are starting out you need to find ways to get your name out there.

…having a website as opposed to a portfolio, but with links to pictures of shows you’ve worked on, pictures of your paperwork, pictures of you, all that stuff, your resume, your bio is a really good way to kind of present yourself in one stroke. – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

Currently, in the post-pandemic year of 2023, there is a shortage of good stage managers in most regions. As a result, there is a good likelihood you will get work. Students are being snapped up even before finishing their studies to work as assistants and apprentices. Folks are always asking for recommendations of stage managers, so make sure you have a good reputation and people know that you are available to work and there shouldn’t be much need to hustle. Most seasoned stage managers no longer have to submit as they are contacted and offered gigs quickly filling up their season. They’ll just spread the word if they have a gap in their year so producers know when they are available.

It is important to note that a Director will generally approve the stage manager they will work with. A theatre may have someone in mind but will run it by the Director first. Directors have different working styles and as a result are looking for a good match in their stage manager. When a Director finds someone they really gel with and who can anticipate their needs, they will want to work with them over and over again.

This chapter won’t cover all that stage managers do, but rather the skills and qualities that will make you stand out and in demand!

Management Skills

Manager is right there in the job title. You are managing the rehearsals, the crew, and eventually the tech and performances. If this is the career you are choosing, make sure you relish the idea of managing a lot of moving parts. You’ll also be managing egos, flow of information, and problems. Although you need to be a bit of a nerd when it comes to paperwork, you also need to have developed people skills so that you can handle a cohort of personalities in such a way that people want you to be the one to manage it.

I find that particularly as a stage manager, so much of it is learn as you go and every show presents a whole new skill set, but you need to figure out in three weeks. And so, I think that people need to be a little bit more ready to fly by the seat of their pants, I guess, and just are ready to figure it out as you go and accept that you may not have all the answers and that that’s totally okay, especially as a stage manager. There’s so much stress that you be the person in charge and you know what’s going on at all times. But there’s definitely days where you have no idea how to fix the problem yet, but you will figure it out. So, you deserve just as much grace as everyone else on the team. So yeah, that’s something that I find a lot of new stage managers, they haven’t really given themself that grace yet. – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

Communication

Good communication skills are crucial for a stage manager. If you can effectively keep all parties in the loop about what is happening in rehearsal and evolving show needs, you will be someone folks will want to work with again. Next to the Director you also play a big hand in setting the tone in the room. A good mix of humour, warmth, and also no-nonsense down-to-business when required is always appreciated. The other qualities linked to communication that are highly valued are tact, diplomacy, calm, and the ability to listen like a fly on the wall.

For more of the theory behind communication check out the Production Management track.

I always say that I try to bring some big mom energy to the room all the time, and I find that people are always surprised working with me because I’m typically a happy go lucky guy and always in a great mood and joking. And so, I think that there’s a vision that we have of a stage manager who’s a very strict timekeeper, serious, all of that. But there’s been such a shift now with check ins at the beginning of the day and closing circles and actually getting to know everybody on a personal level. And so, I think that that’s something that is really helpful in that situation to be one of the team players. And I find that often now because I have other skill sets that I’m not afraid to make an offer, that something that might be funny or I see a sight line problem or whatever it is. And that opinion is not only welcomed, but it’s encouraged and it’s like a team, which is nice. I don’t remember it being like that when I was training, but I definitely feel a bit of a shift like that. And so, I think being confident enough to stand up and use your voice I think is really important in a room. – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

Leadership

Like it or not, stage managers do have a certain level of authority and power. You will be running the show once it moves into tech and are in charge of making sure everything goes off without a hitch. If you are able to earn respect, set a good tone, have folks follow your lead, and take care of everyone along the way you will once again be someone in demand.

Really great stage managers also foster a team spirit with the rest of their stage management team. Overseeing assistants, apprentices, and running crew while also managing your own workload can be a tricky balancing act. If you are stressed, panicked, overwhelmed or exuding a sense of chaos this will spread. Of course stage managers are human too so finding constructive ways to deal with the stress or with crisis is necessary. Having the support of fellow stage managers or production folks you can debrief with after is important.

Finally, leadership is also about dealing with issues. Conflict resolution skills are also at play for most stage managers and will serve you well. Theatre is a job at which people are asked to open up their hearts, be intimate, be vulnerable, take risks…and this can lead to feeling sensitive. One stage manager I worked with long ago literally kept the flag of Switzerland on her desk to symbolize that she was neutral. She would not take sides, but would help members of the team work through a disagreement as an objective mediator.

I’ve been looking into intimacy coaching. I read a book about it, took a session and some anti-racism training. All of those kinds of things I think are really beneficial to a stage manager, because it gets tricky in the room sometimes when you’re in charge of people’s feelings and things. And once the director leaves, especially something like intimacy, it’s really helpful to have the vocabulary that they’re using so that you can continue it on. So, I think that the more of those outside things that you can bring in as well as like first aid training, mental health aid training, all of that I think is something that really sets you apart from other stage managers that don’t have that.  – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

Scheduling

A Director relies on the stage manager to schedule rehearsal time effectively. When I work with student stage managers they often need a lot of support in sorting out how much time I would like as a director to work a particular scene or moment. With experience they begin to master the ability to manage this time effectively for directors.

Good stage managers truly are master planners, organizers, time managers, and expert trackers of information.

A related quality that a good stage manager possesses is flexibility. This often has to come into play when scheduling issues inevitably arise. It also affects how one communicates and leads. Finding the ability to demonstrate flexibility while still keeping up the energy and morale in a rehearsal room is challenging, especially when tension increases. Overall, not being overly rigid is important in anything a stage manager does. It helps the rest of the team when they can see the stage manager is empathetic, human, and willing to adapt when needed. It will also be less stressful for the stage manager if they accept that things will inevitably be fluid.

Unfortunately, many rehearsal schedules continue to be extremely intensive. This is especially the case for the SM team who have to be first in the space and are often last to leave. Scheduling one’s own life can therefore be the challenge. It is good to think about time between gigs to get on top of life. Professional productions will have prep time built in before rehearsals begin for the stage manager to get their paperwork ready, tape the floor, and prepare the rehearsal room. Non-professional gigs will sometimes not build this in so it is important to ask for it or stagger your start date to allow for a buffer.

A burnt-out, tired, unhealthy stage manager is not good for anyone.

CAEA for Stage Managers / Contracts

Canadian Actors Equity Association also represents Stage Managers. There are tons of resources and supports on their website just for SMs. Once you are a member you must work under CAEA agreements, even with non-PACT theatre companies. You also have the onus of understanding the agreements for each engagement as you will need to follow the regulations outlined in managing rehearsals, tech, and performances. For example, with the regional theatres you will be working under the Canadian Theatre Agreement (CTA). You need to familiarize yourself with when breaks need to occur, what is permissible for rehearsal hours, fittings, and other protocols/policies.

We won’t get into the nitty gritty of each agreement here, but reading them through is a great exercise for any aspiring stage manager. Dive in on their website.

For a broader approach, from the producers end you can also review the breadth of contracts shared by PACT.

One interesting thing about stage managers is they are now considered by CRA to be employees of the theatre during their contracted time. This means EI, this means having an office, and a bit of a different relationship. It recognizes the reality of the position as being part of management.

I think that it’s really easy to get taken advantage of sometimes, and I don’t think that people in positions of power in theatres necessarily do it on purpose, but I find that the stage manager often has to take on responsibilities that A, probably aren’t their duty but B, you just don’t have enough time to do everything. And so, like I said, being the first person and the last person and all of that, it’s like being able to delegate and being able to stand up and say, you know, I don’t have time for that or that it really isn’t my job. I’m going to need someone to take care of that. There’s nothing wrong with that. And there’s nothing wrong with saying, my plate’s full. But I think that as a stage manager especially, I see so many people that think they have to do everything and then they get so worn out, you can just see it and it’s not fair. – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

Resources/Tips

The best thing you can do if you are contemplating this career track is to talk to stage managers. Who is currently working at the theatre you want to work at? Ask them to meet for coffee. Come prepared with questions.

I think that when I went to school, it was very much trying to mold yourself into what their vision of a theatre artist is. And I don’t find that to be in any way realistic. So I wish that back then that I would have had the confidence to just kind of chart my own path more directly and stuck to my guns a little bit more because I think that what you bring as yourself to the team is pretty important in any role in theatre, especially nowadays. People are really looking for authenticity and uniqueness and all of those things. And so being able to confidently know what you bring to the table I think would have been really helpful. It took a long time to figure that out, but I think that the conversations are changing and that’s really important. – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

Advice

Good stage managers are invaluable. You can make a career of it, but in most cases will be going from contract to contract so it combines the flexibility of freelance with a bit more stability. It is also intensive work.

If you love it you will know. If you don’t then at least having done it or learned about the demand it requires will allow you to appreciate the gift of a reliable stage manager.

I would say learn how to budget. It’s really interesting being a gig worker essentially, and I guess so this is my, as I said, second year of full-time stage managing, and it’s hard to say no to things. And so, you end up being very overwhelmed. But at a certain point, I think that the goal would be to be able to take a month or two off and not have to say yes to a contract. But that’s tricky when you’re used to living paycheck to paycheck or whatever it is, as well as just wanting to help everybody and do every experience. So, I think that learning how to not burn yourself out is a really important skill for stage managers. And, when I talk to older stage managers and someone who’s mentored me, I can see that they don’t have all the answers either. And so, it’s something that I think a younger generation is learning. And so, it’s hard as the stage manager who’s the first person in and the last person out, and you’re always working on your days off, to remember that you need time to rest and breathe as well so that you can bring the best energy to the room. So, I think that that’s something to try and learn before you go into it, I think is probably helpful. – Ricardo Alvarado, Stage Manager, Persephone Theatre, Saskatoon, SK

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The Business of Theatre: Pathways to a Career in Theatre Copyright © 2023 by Hope McIntyre. All Rights Reserved.

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