Student Roles and Responsibilities - Acting Thesis

Reports to: Thesis Production Manager, Director

Receives support and guidance from: Director of Production, Thesis Operations Manager, Lenfest FOH Staff, Faculty.

Schedule: Required at production meetings (both with and without Columbia production staff, classes take priority), tech rehearsals, final dress, and all performances. 

General Duties

• Thoroughly reading and understanding the thesis handbook.
• Ensuring Lenfest Center for the Arts Rules; School of the Arts Rules; Theatre Program/Production Department Guidelines, Rules, and Regulations; & NY Laws are followed.
• Collaborating with the director, all creative team members, and Columbia production staff to help successfully achieve the production vision.
• Reviewing scripts and/or monitor devised text in order to develop standard production paperwork.
• Facilitating communication between all departments.
• Identifying and troubleshooting potential production issues.
• Acting as executive-in-charge of all pre-production deliverables (see below), rehearsals, and performances.
• Maintaining artistic integrity of performances to ensure quality control over the course of the run.
• Conducting themselves as leaders in accordance with generally accepted professional standards of conduct.
• Demonstrating ability to accept and incorporate constructive criticism from the Columbia production staff and concentration advisors at various times through the process in an effort to assess progress.
• As facilitator for all protocols, stage managers who are meet with any resistance from any member of the production team (students, staff, faculty, administration, and any outside colleagues hired for the production), should immediately report such instances to their Concentration Head, the Director of Production, and the Director of Academic Administration for further counsel.

STAGE MANAGER WORKFLOW HANDBOOK

The Stage Manager Workflow Handbook is downloadable and printable.  It is also copied below for your connivence.  Please access it in whatever way is most supportive to you.  The information below and the downloadable handbook are 100% identical. 

STAGE MANAGER QUICK LINKS

• EXCEL SECURITY LIST TEMPLATE
• SECURITY LIST SUBMISSION FORM
• REHEARSAL HOURS CALCULATOR
• TRUCKING FORM

INTRODUCTION

This document is here to walk student stage managers through all the deliverables, deadlines, and policies related to being a Stage Manager on thesis-level productions at Lenfest Center for the Arts.  The information contained herein is primarily related to the role of PSM, who may assign some of the associated tasks to the supporting stage managers on their team.  This document does not replace the wiki, please be sure to read the wiki in addition to this document.  This document is meant to be a supplement to the wiki and a quick access guide throughout the process.  Links to the wiki documents are below for reference.

• DIRECTING THESIS WIKI
• ACTING THESIS WIKI
• NEW PLAYS FESTIVAL WIKI
• ACADEMIC WIKI

Anytime there are questions, or support is needed of any kind, please contact the Thesis Production Manager - Brendan O’Brien.  I am here to support and help make this process a success.  Don’t hesitate to text, call, or email pretty much anytime.  

Brendan O’Brien, Thesis Production Manager

Cell: 201-230-4082

Email: [email protected]

DELIVERABLES 

There are many deliverables throughout the process.  All of these have deadlines on the dates and deadlines document.  Below is information and guidelines for each of these deliverables.  

• Preliminary Paperwork

  • This is the basic prep paperwork for the production.  Whenever possible, we would like for this to be completed 2 weeks prior to the Policies and Procedures meeting.  This is so that you have a clear understanding of the production and its requirements going into this meeting, and also so that this paperwork is ready for designers to collaborate with as they start their design processes.
    • If you are working on a show that is a new work (ie an original piece for a directing thesis, or a New Plays Festival show) you may not be able to have the script prep paperwork done by the Policies and Procedures meeting.  For new works, this paperwork can be done at a time in the process where it makes sense.  Work with the Thesis Production Manager and Stage Management faculty to set a deadline that works for your project and team.
  • Here is a list of documents that are expected as part of the preliminary paperwork:
    • Contact Sheet - including roles, names, emails, and phone numbers.  Please also include CU production staff on your contact sheet.  Leave blank any roles that aren’t filled or confirmed yet.
    • Character/Scene breakdown
    • Preliminary design lists for items referenced in the script (props, costumes, sound, scenic, lighting) - include page numbers for reference
    • PDF of Script - the Thesis Production Manager can help you get this if you don’t have one already 

• Production (Rehearsal) Calendar Draft

  • Work with your director to create a rehearsal calendar draft.  This can be submitted as a Google Sheet or Google Doc with the ability to add comments, please do not submit the version for review as a PDF (but the final version can be shared widely as a PDF).  Please be mindful of the Columbia scheduling rules when making this draft:
  • Rehearsal weeks are Monday - Sunday.  It may be helpful to format your calendar with Monday as the first day on the left, and Sunday as the last day on the right, though this is not required.
  • Your entire rehearsal process, including tech, but not including performances, has maximum hours as detailed below:
    • Directing Thesis & New Plays Festival: Rehearses over a maximum of 5 weeks and you have a cap of 128 hours of rehearsal
    • Acting Thesis: rehearses over a maximum of 6 weeks and you have a cap of 156 hours of rehearsal
  • Your rehearsal start date is listed on the dates and deadlines document.  You can start later if you prefer, you cannot start earlier without special permission from production management.
  • You have a max of 28 rehearsal hours per week (remember a week is Mon-Sun).
  • During the week with your 8 out of 10 tech rehearsals, your weekly hours cap goes up to 33 hours for that week only.
  • You must have 1 full 24-hour day off each week Monday - Sunday and you cannot go more than 6 days between days off.
  • Each rehearsal day prior to tech can have a maximum of 6 hours of rehearsal time (not including the meal/rest break).
  • The rehearsal day shall begin with the individual's first call of the day. There shall be one full hour meal/rest break, after a maximum of five hours in said day.  This rule is in effect for everyone including the SM team and the director.
  • Onstage rehearsals cannot begin before 6:00 PM on weekdays.
  • Please pre-schedule your designer run into your production calendar (even if the date is tentative). 

  • When building your rehearsal calendar, you are welcome to use this rehearsal calendar hours calculator to help you track your total hours.  This document has been saved in your Google Drive for easy access.  You are not required to use this.

REHEARSAL HOURS CALCULATOR

• Security List

  • This document is used to communicate who is involved in your production to Production Management, so that we can add your team to the Master Security List for Lenfest Security.  Please use the linked document below to add people to the security list.  When adding new people, please resubmit this document with only the new people!  Please use the linked template to submit this information, do not reformat the document.
  • SECURITY LIST TEMPLATE - to use this template, please make a copy of the document and then follow the instructions in the document.
  • Please submit the security list using this submission form: SECURITY LIST SUBMISSION FORM 

• Illness/Safety Plan

  • We ask that each production prepare an Illness/Injury Safety Plan prior to beginning rehearsals. This plan can identify the following:
    • Any activities or moments in the show that would be high risk for the spread of an infectious disease (examples include close contact, kissing, shared food, etc.).
    • Any measures being taken by the company to mitigate those risks beyond what Columbia's own protocols require.
  • Additionally, as part of the Illness/Injury Safety Plan, the company can prepare a contingency plan for how the show would proceed in the event that one of the following occurs:
    • An actor, crew member, or creative team member falls ill during the rehearsal process.
    • An actor, crew member, or creative team member falls ill during or prior to tech.
    • An actor or crew member falls ill during or prior to a performance.
  • While we certainly hope that none of the above scenarios happen, having a plan in place in case they do is very helpful in providing a framework to work from in a time-pressured scenario.
  • Please save the illness/injury safety plan in your Google Drive and submit directly to the Thesis Production Manager via email. 

• Paperwork Formats for Approval 

  • Please submit your paperwork templates to Michael Passaro and Linda Marvel for approval, with Brendan O’Brien on copy.  This is due 1 week before rehearsals begin.  Please submit your templates for the following paperwork:
    • Daily Call
    • Weekly Schedule
    • Rehearsal Report
    • Performance Report
    • Any other paperwork templates you plan to use during your process

• Detailed Tech Schedule

  • Two weeks before tech, you are due to submit your finalized detailed tech schedule.  You can begin working on this approximately 3 weeks before tech so that it can be finalized by the deadline.
  • The tech schedule can be created in either Google Docs or Google Sheets with the ability to add comments and shared in this version.  CU Production Staff and Faculty will comment within the Google doc/sheet with edits and requested changes.  Do not submit this document as a PDF (but the final version can be shared widely as a PDF).
  • The tech process is templated to an extent, so there are some items that cannot change.  The start and end times of each tech day are pre-determined as follows:
    • Friday 6:00 PM - 11:00 PM
    • Saturday 12:00 PM - 10:00 PM (meal/rest break 4pm - 6pm)
    • Sunday 12:00 PM - 10:00 PM (meal/rest break 4pm - 6pm)
    • Monday OFF
    • Tuesday 6:00 PM - 11:00 PM
    • Wednesday 6:00 PM - 11:00 PM
  • When creating your tech schedule within the above parameters, please be sure to think about and address the following:
    • Specify the call time for stage managers each day.  Please note that 1st and 2nd year SMs cannot be called before 6:00 PM on weekdays, but they can choose to come earlier than their call time if they wish.
    • Specify the call time for crew each day.  Please note that the crew cannot be called prior to 6:00 PM on weekdays.
    • On the first day of tech, the first 20 minutes are required to be set aside for a meet and greet and safety walk through led by the Thesis Production Manager.
    • Specify a half hour call for actors to get into costume whenever necessary.
    • If using microphones, specify when sound check will happen.
    • If a fight or intimacy call is necessary, specify when it will happen. (As a recommendation, you often do not need to complete the full fight/intimacy call prior to cue to cue tech.  You will not hit all moments in each day, and it is often a better use of time to do the call for individual moments when you hit them during tech).
    • If you are doing an Acting Thesis, or a show that requires specific warm up time, please include that in the schedule.
    • Specify time at the end of each call for actors to get out of costume which is 10 minutes prior to end of day and prior to meal/rest breaks.
    • At the end of each tech day, please include the post-tech production meeting, which will begin 5 minutes after actors are dismissed to get out of costume and is led by the Thesis Production Manager.
  • As part of your tech schedule, you also need to include all performance calls.  When creating performance calls keep the following in mind:
    • Specify SM call time and crew call time (remembering 1st/2nd year SMs and crew cannot be called before 6:00 PM on weekdays).
    • Specify Actor call.  Please note that if actors want to arrive prior to their call time, the earliest they can arrive is the SM call time.  No actors are allowed in the dressing rooms prior to SM call time and actors do not have access to costumes until half hour (unless previously arranged with the costume shop)
    • I recommend (but not required) to specify when you will sweep/mop and when you will preset.
    • Specify when fight/intimacy call will happen when necessary
    • Specify when sound check will happen if necessary
    • Please note that the house must open 30 minutes prior to the performance start time, there are no exceptions.  Plan your pre-show calls so that everything can be safely completed prior to the half hour call.
  • There are sample tech schedules for each type of show linked below.  There is no need to copy this format, please format and create however you like, while keeping in mind the guidelines above.
    • Directing/Acting Thesis Sample Tech Schedule
    • New Plays Festival sample Tech Schedule
    • Sometimes Acting students may have classes that end late, which could result in the need to change the templated tech schedule if your crew includes 1st year actors.  If this is necessary, the Thesis Production Manager will let you know.  This is not necessary for Fall 2026.

• Entrance/Exit Plot

  • This is due no later than 2 days before tech begins and is created to aid the wardrobe staff in quick changes (and if you are using body mics, to aid the A2 backstage if you have one).  There are no format specifications, you can make this document however you like.  If you have questions about the best format to use, you can reach out to Stage Management Faculty or the Thesis Production Manager.

PRODUCTION MEETINGS

The Production Stage Manager is not required at all Production Meetings.  A list of required production meetings are detailed below.  

• If the PSM has a class conflict with a production meeting, please inform the Thesis Production Manager ASAP so that we can attempt to reschedule the meeting.
• Please note that aside from class conflicts (which always take priority), production meetings need to be the priority for the PSM
• If the PSM is unable to attend a required production meeting, they must alert the Thesis Production Manager in advance that they will not be attending.  

REQUIRED PRODUCTION MEETINGS:

• Policies and Procedures Meeting
• Design Concepts Meeting
• Design Revisions Meeting
• Midway Design Meeting
• Production Resources Check In
• Pre-Tech Meeting

The PSM is always welcome to attend any other production meetings they like, but meetings outside of the list above are not required and the PSM is not expected to be in attendance.

PRODUCTION MEETING NOTES: 

• The PSM is required to take notes and distribute notes at all required production meetings.  Stage Management faculty requests that notes be taken by hand. AI note taking tools can be used as supporting resources to check your work if you like.
• Production Meeting notes need to be distributed no later than 24-hours after the meeting ends, though earlier is always better.
• The notes need to include a link to the Zoom recording of the meeting.  The Thesis Production Manager will send this link to you.  If you don’t have the link when you are ready to send the notes, ask the Thesis Production Manager for the link.
• At meetings where the PSM is not required to be in attendance the Thesis Production Manager will distribute notes from the meeting.  If the PSM has an approved conflict during a production meeting, please ask one of the Deck SMs to take notes.  If all Stage Managers have an approved conflict, then the Thesis Production Manager will take and distribute the notes.
  • Please note that the Thesis Production Manager will never distribute notes for a meeting that the PSM was required to be at, and was in attendance for.  It is the PSM’s responsibility to distribute notes for these meetings.

THE GOOGLE DRIVE

The Thesis Production Manager will create and share the show’s Google Drive with the PSM.  Once the PSM receives the Google Drive, they have complete control over the setup and oversight of their show’s google drive.  

The Thesis Production Manager will create three folders before sending the drive to the PSM - 

1. Marketing Folder - this will contain the Marketing Document, Playbill Document, and Creative Brief which are collaborated on between the director, producer, and CU staff.  The SM does not need to use this documents but they must remain available for your team members.
2. Producing Folder - this folder will contain the performance rights for your production.  Please feel free to read these over as it is useful to understand the restrictions and rules under which the show is operating for the underlying rights holder.
3. Costumes Folder - The costume shop has a very specific group of folders they use to track the show, so these folders are pre-created for each show.

• Everything else in the drive is up to the PSM to create, organize, and maintain.  Please create all the folders you need.
• Everything for the show needs to be saved in the Google Drive.  Documents distributed via email need to additionally be saved in the drive.  This is asked of everyone on the team including designers, director, etc.  If a completed document is created for the show, it needs to be saved in the Drive.
  • We ask that the designers and the director not create their own separate shared drives.
• If you need any assistance with the Google Drive please ask the Thesis Production Manager.

REHEARSAL PROCESS

Booking Rehearsal Space & Rehearsal Schedule Changes

• After your rehearsal schedule is approved and finalized, the Thesis Production Manager will book your rehearsal space.  You do not need to request space through EMS for your primary rehearsal space each day.  (If you want to book a 2nd studio, you will need to request that weekly through EMS using the usual rehearsal request system).
• For Acting and Directing Thesis, most of your rehearsals most of your rehearsals will take place in BG2.  Any rehearsals that need to take place outside of BG2 will be booked into Nash in your preferred studio when available.  The sooner we finalize your rehearsal schedule, the sooner we can look in rehearsals space.
• For the New Plays Festival, BG2 is available on a first come, first serve basis.  All other shows will rehearse in Nash or Riverside.  The earlier you submit your rehearsal schedule, the more likely you are to get your preferred studio.
• VERY IMPORTANT NOTE: Changes to the rehearsal schedule in your primary space must be directly communicated to the Thesis Production Manager.  Any changes to start time, end time, canceling a rehearsal day, or adding a rehearsal day must be requested through the Thesis Production Manager.  It is not sufficient to make an update to your weekly schedule, distribute that, and assume you have communicated this change.  You must touch base directly with the Thesis Production Manager, and confirm this change before distributing it widely.  Changes to your schedule are not guaranteed and may take a few days to confirm.  Please communicate early and often!
• 2ND VERY IMPORTANT NOTE: If you run into an emergency situation where you need to make a last minute change to your rehearsal schedule, please text or call the Thesis Production Manager as soon as possible (even at night, and even on the weekend).  If you cannot get through, leave a voicemail and send a text.  This is so that the PM can then alert other staff who may be working only to support your rehearsal (most commonly the Lenfest Technical Supervisor). 

Lenfest Confirmed Schedule 

• Every Thursday starting 3 weeks before your rehearsal process begins, up until your final week of rehearsal, you will receive an email with the Lenfest Confirmed Schedule for the next 3 weeks.
  • Please cross check this schedule with your rehearsal schedule and confirm its accuracy.  This is a very important step, because this schedule is the schedule that everyone in the building is working off of.  If there’s an error, and you don’t tell us, the rehearsal space will not be available when you expect it to be, or staff may be scheduled to support you at times when you are not there.  Do not skip this step of reviewing and cross checking this schedule - it is the production stage manager’s responsibility to make sure it is correct.

Reports Distro

• Please be sure to use the Reports Distro for your type of production when sending reports, daily calls, and weekly calls.  Each distro is linked below.  Please pay special attention to which emails are to be in the CC field and which emails are to be in the BCC field.  Do not BCC any emails that are not specified to be BCCed.
• Starting with the first onstage rehearsal, please add the lighting programmer, and A/V SSP student to the daily calls and reports.  Contact info will come from the Thesis Production Manager.
• Please be sure that the run crew is added to the daily calls starting with the first day of tech.
  • Directing Thesis Distro
  • Acting Thesis Distro
  • New Plays Festival Distro

Reports and Calls Distribution Timing

• We ask that rehearsal reports be sent as soon after rehearsal ends as is reasonable, and no later than 9:00 AM the day after the rehearsal ends.
• We ask that all daily calls be sent after the previous rehearsal ends, at the earliest reasonable time.  The daily call must always be sent no less than 12 hours before the first call of the day, although earlier is always preferred. 

Rehearsing in BG2

• Unlike Nash and Riverside, when you rehearse in BG2 you have a studio lockout.  What this means is that you do not need to reset the room each day.  You can leave your rehearsal setup as you like it, you will be the only production rehearsing in the room during your rehearsal process.
• A Technical Supervisor (TS) from Lenfest must be present for all rehearsals and performances at Lenfest. The Technical Supervisor will do the following:
• The TS will be there to open/unlock the spaces and close up at the end of the rehearsal / performance.
• They will also be there to help answer questions and address in-the-moment needs related to facility issues.
• The TS on duty each day will have their contact information posted on the whiteboards in BG2 (the rehearsal studio) and the theater shop.
• Please note that there is no rehearsal allowed in any hallways or in the break room on the C level of Lenfest.
• The cast and creative team are welcome to use the break room on the C level on Lenfest, but please abide by all rules written on the door including leaving the door open and not rehearsing.  This break room is available to everyone working in the building including facilities, security, etc.
• Stage Managers have swipe access to the copier/printer on floor 2.  If you have issues with access, let the Thesis PM know.  SMs can use a USB drive to print using this printer.  The Technical Supervisor can also assist with printing needs, and the Thesis Production Manager can print documents for the SM team prior to rehearsal when asked.
• Please note that facilities does not clean BG2.  It is the responsibility of the SM team to sweep and mop the studio as necessary.  Please use water only when mopping.  The Technical Supervisor can give you access to a mop as needed.  Please put your trash can outside the studio at the end of each night to be emptied by facilities. 

Taping out the Studio

• On your first day of rehearsal in Lenfest (or prior to, when scheduling allows) the SM team can come in to tape out the studio.  Please schedule time to tape out with the Thesis Production Manager.
• The Thesis Production Manager will supply you with scale rulers, printed ground plans to scale, and an annotated ground plan to scale.  If you would like the ground plan annotated differently, or printed differently, ask the Thesis PM.
• Spike tape and gaff tape is available in the storage room within BG2.  If you need additional tape ask the Thesis PM.
• If you need assistance in taping or have any questions please ask the Thesis PM. 

First Day of Rehearsal 

• The Thesis Production Manager will make best efforts to join you for the beginning of your first rehearsal.  If your first rehearsal is on the weekend, or overlaps with a tech rehearsal, this may not be possible.  The Thesis PM will also usually join you on your first day in BG2 (which may or may not be your first day of rehearsal) to go over rules and policies for working in BG2.
• There are a few things to keep in mind for the first rehearsal:
  • Scripts and Scores: If you don’t distribute scripts (and scores when applicable) prior to your first rehearsal, please be ready to distribute scripts on your first rehearsal.  If you are using rental materials please carefully track who is given what, as you will need to collect all these materials at the end of the production to be returned.  If you are unsure if materials are rentals, ask the Thesis PM.
  • Emergency Info: Please collect Emergency Contact Info, allergies, etc from each member of your company and keep on file throughout the production.
  • Waiver/Release Form: These are the responsibility of the Company Manager (not the PSM), but they may ask you for help in distributing the link.
  • Nudity Forms: If your production requires nudity, the nudity form must be filed by the first day of rehearsal.
  • Performance Agreements & Hiring Paperwork: This is the responsibility of the producer (not the PSM) but they may ask for time to finish these documents at the top of rehearsal.
  • Costume Measurements: The Costume Shop Supervisor usually comes to do costume measurements on the first day of rehearsal.  Please touch base with the Costume Shop Manager prior to the first day to confirm when this will happen.  They will need to pull people from rehearsal one at a time to measure them, it usually takes around 10 minutes per person.  The cast needs to be told this is happening in advance, and there will be specific instructions from the Costume Shop Manager that need to be included in the daily call for the cast.

Rehearsal Report Notes 

• Please pay special attention to anything happening in rehearsal that may need to be communicated to Production Staff via the rehearsal reports.  Aside from usual rehearsal notes, here are a few things to pay special attention to:
  • Scenic pieces or props being used in a way they are not usually used - this is very important for the production staff to know as it may impact how they build items.  Err on the side of over communicating, if an item is used in a way that’s even a tiny bit out of the ordinary, err on the side of caution and include it in the report.
  • Script changes on licensed shows - If your show is a licensed show (ie not an original work or a work in the public domain) there are very specific rules around changes to the script and property.  Please be sure to communicate all proposed changes as these need to be approved by the rights holder.  Withholding this information is never in service of the show.  Even if you believe you are protecting the director or creative team in keeping proposed changes to yourself, changes can result in the production being shut down by the rights holder.  Unauthorized changes to a show could also cause restrictions for future Columbia productions and could impact other students' options in the future.  In other words, it’s a big deal, and as the Stage Manager, it is your duty to report changes if they come up.  If you are uncomfortable putting proposed changes in the report, you can communicate them privately to Production Management or Stage Management faculty.
  • Notes of a Sensitive Nature: Please exclude any notes regarding interpersonal dynamics, conflicts, or an individual’s private circumstances from the rehearsal report. We ask that you prioritize confidentiality; if a specific matter feels delicate, trust your judgment and contact the Thesis Production Manager or Stage Management faculty via a private email or phone call instead.

Rehearsal Props & Costumes

• Rehearsal Props are the responsibility of the props designer.  Please communicate rehearsal needs in advance once you have them with your props designer.  Any props checked out of Production Resources need to be checked out with a PR appointment.  It is not the responsibility of the PSM or SM team to find rehearsal props, but it is your responsibility to communicate what you need in a timely manner.
• Rehearsal Costumes will be coordinated by the Costume Shop Manager when requested.  Please be sure to communicate these requests as early as possible and understand they may take a few business days to fulfill.
• Using Show Costumes in Rehearsal: Show costumes are not usually available for use in rehearsal.  Show costumes can only be used in rehearsal with the explicit permission of the Costume Shop Manager.  Do not remove costumes from the dressing rooms and bring down to rehearsal without permission. 

Special Notes for Musicals

• Band rehearsals, where only the band members are called, can be scheduled separately from regular acting rehearsals.  Band only rehearsals do not count towards your maximum 128 hours of rehearsal,  but do count towards your maximum of 28 hours per week.  Band rehearsals can be scheduled at the same time as an acting rehearsal, as long as you are able to secure a second rehearsal space.
• Stage Managers are not required to attend band rehearsals, but a Columbia University representative is required to attend all band rehearsals (this is often the producer).
• If your production is utilizing a live band, you must schedule a sitzprobe or wandelprobe during one of your onstage rehearsal days prior to technical rehearsals beginning.  Your music director and sound designer can coordinate with the AV Supervisor on what you require for the sitzprobe or wandelprobe.  You will be given sound support for the sitzprobe, but not access to the full Lenfest sound system. 

Special Effects & Blood 

• Shows with blood, special effects, or very fast quick changes need to schedule a portion of their time on Tuesday or Wednesday immediately prior to tech beginning to test these effects/changes with the Production staff. A brief time spent earlier on these moments saves an enormous amount of time during tech rehearsals. Since every show is unique, please coordinate with the Production Staff as to the most efficient time to look at these. 

Fight Choreography and Weapon Usage

• If your production has staged violence, fight choreography or weapon usage, please be sure to thoroughly read the wiki pages on Stage Violence and Weapons. There is a large amount of information and policies that are important for the Stage Manager to understand.
• The Gun and Weapon Release form must be filled out and submitted before a weapon is used in the rehearsal room.
• Weapons need to be locked up when not in use.  There is a weapons locker backstage right at Lenfest which can be used.  The Thesis Production Manager can give you access to the locker.
• Adjunct Professor Jacqueline Holloway serves as the staged violence advisor for thesis productions. She can assist the creative team in defining how choreography will be approached in the production and deciding if the choreography in the piece would benefit from or require hiring a specific fight director or choreographer. (Please note that Jacqueline's schedule does not permit her to serve as the fight director in the rehearsal room, if one is needed.)
  • If your show does not have a fight director/choreographer and you feel the show would benefit from having one, please speak with Stage Management faculty and/or the Thesis Production Manager immediately.  We want to be sure that everyone is safe and your judgement as the stage manager is an important perspective in this situation.

Intimacy in Productions

• If your production has intimacy or nudity, please be sure to thoroughly read the wiki pages on Intimacy as there is a large amount of information and polices that are important for the Stage Manager to understand.
• Adjunct Professor Jacqueline Holloway serves as the intimacy advisor for thesis productions. She can assist the creative team in defining how the intimacy will be approached in the production and deciding if intimacy in the piece would benefit from or require hiring a specific intimacy director or choreographer. (Please note that Jacqueline's schedule does not permit her to serve as the intimacy director in the rehearsal room, if one is needed.)
  • If your show does not have an intimacy director and anyone on the production feels they would like to have a dedicated intimacy director, please speak immediately with Stage Management Faculty and/or the Thesis Production Manager so that we can assist with putting an intimacy director in place.
• If your production has nudity, the nudity release form must be filed before any nudity happens in rehearsals.
• The stage manager and intimacy director (if used) are the co-facilitators for all protocols relating to scenes with nudity and/or sexual content (including consensual sexual touching and sexual assault). At the first rehearsal, the stage manager will highlight the protocols to the company, and confirm that all members of the company have read, understood, and consented to this policy. In preproduction, the stage manager will enumerate the scenes with any potential nudity, sexual content, consensual sexual touching and/or sexual assault, and in the rehearsal room will work with the Intimacy Director to take down the choreography to ensure the choreography is repeated. Stage Management is responsible for letting the company know of nudity/sexual content in the rehearsal room at least 24 hours prior.
• As facilitator for these protocols, stage managers who meet with any resistance from any member of the production team (students, staff, faculty, administration, and any outside colleagues hired for the production), need to immediately report such instances to their Concentration Head and the Director of Academic Administration for further counsel.

Fight and/or Intimacy Calls

• Fight and/or Intimacy calls during rehearsals and production, must be run by Fight or Intimacy Captain in coordination with the Fight/Intimacy Director as available, and the Stage Manager.  The Stage Manager is responsible for keeping the room safe during these calls which includes messaging the need for the room to be quiet and focused on the call.  Conversations unrelated to the fight and/or intimacy call can be directed to happen outside of the room so that the fight or intimacy call remains safe and focused. 

Inclement Weather Policy

• If inclement weather occurs during/prior to a rehearsal or performance, please stay in close communication with the Thesis Production Manager and/or Director of Production (Corrie Beth Knott - [email protected]) about the status of any building closures. Final approval for any alteration of schedule is with the Thesis Production Manager/Director of Production.

Costume Fitting Scheduling

• The Stage Management team will manage the costume fitting schedule, in collaboration with the Costume Shop Manager.
  • Fittings usually happen the week before onstage rehearsals begin.  Please be sure to coordinate with the Costume Shop Manager prior to this week to sort out what times are available for costume fittings.  Fittings are generally scheduled for 1 hour each but confirm all details with the Costume Shop Manager before starting the scheduling process.
  • Coordinate with the cast to have everyone sign up for a costume fitting slot.
  • Communicate these slots with the Costume Shop Manager.
  • Stage Managers are not expected or necessary to attend costume fittings. 

Trucking Form

• The Trucking Form is due the Thursday prior to Load In.  Please collaborate with the scenic designer, props designer, and director to ensure that everything you expect to be brought to Lenfest is on this list.  If something is missing from the list, it will not arrive at Lenfest.  The trucking form is a shared responsibility of the people listed above.

Last Day in Studio

• On your last day of rehearsal in the studio before moving to the stage, please complete the following:
  • If rehearsing in BG2 please be sure that all pieces that need to be moved to the theater are gathered together in the corner of the studio by the door.  Please also include a list of all items that need to go up to the theater in the rehearsal report in the Scenic section.
  • If rehearsing in Nash, pack up all props and items that need to be trucked to the theater and place them where designated for trucking.
• Pull up all spike tape, unless the Thesis PM has asked you not to.
• Put all rehearsal furniture back into the storage.
• Reset the room. 

Onstage Rehearsals (Pre-Tech)

• The dates and deadlines document shows when your first day of onstage rehearsals are, these vary by production type.  Regardless, your first day onstage the SM team will have a safety walkthrough with the Thesis PM prior to rehearsal beginning.  This is usually scheduled at 5:30 pm, but will be rescheduled if this creates a class or dinner break conflict.  During this walkthrough the Thesis PM and scene shop staff when available will walk you through your scenic elements, talk you through safety protocols around your set, and answer any questions you may have.

TECH PROCESS & RUN OF SHOW

Clear-com/Headset System

• Lenfest uses a ClearCom FreeSpeak system with a mix of wired and wireless com packs.
• The PSM will have a base station with many channels available to them throughout tech and performances.  One base station will be set up at the PSM’s tech table in the house, and a duplicate base station is set up at the calling position in the booth.
• Base station channels:
  • Theater All: This is the channel where the PSM calls the show.  Like it says, it is everyone and every pack has access to this channel.
  • Deck: This is the private line for the deck SMs and deck crew.  The PSM has access to this line but can mute during the show allowing the deck team to freely speak while the SM is calling the show.  The SM can always unmute this channel as necessary.
  • Lighting, Sound, Wardrobe, Video: channels for each of these design areas to speak freely during tech.  If you have these muted please be sure the designer knows to talk to you on Theater All.
  • Brendan & CB: You have channels into both Brendan and CB’s offices (separately).  You also have a channel into Brendan’s ClearCom phone app.  Brendan will be on com via his cell phone throughout all of tech, and can be accessed on any channel, but to speak privately you could use the phone channel.
  • Motorola 5: This channel connects to the front of house walkie talkies.  More on this further down.
  • God Mics: You have 2 God mic channels. You speak on the god mic directly through your headset.  You can select either or both of these channels at once to speak over the God mic into only the theater, only backstage/dressing rooms, or both.  This is how you’ll make announcements during tech and performances.
• Personal headsets and headset preferences: If you have a personal headset please let us know ahead of time so that we can test it with our system and troubleshoot any issues.  If you have headset preferences (ie you have a small head and regular headsets are usually too big) please also let us know ahead of time so that we can troubleshoot. 

Zoom for Tech 

• We set up a zoom via an iPad for each day of tech so that SM and Directing faculty can join the rehearsal via Zoom.  Usually the Thesis Production Manager will set this up, but please check in if it has not been set up yet. 

Tech Goals

• We strongly recommend that you set goals and benchmarks throughout tech with your director to keep yourselves on schedule.  These goals do not need to be shared widely but are a very helpful way to gauge if you are moving quickly enough, and if you have time to go back and hit things you’ve already done.  Please note that you are required to run the show on Wednesday prior to opening (and a run prior to that is also always good, but not required). 

Post-Tech Production Meetings

• At the conclusion of technical rehearsals each day, approximately 5 minutes after the cast has been released to get out of costume, we will have a post-tech production meeting in the house, led by the Thesis Production Manager.  The Stage Manager can take notes during this meeting and those notes can be included in that day’s rehearsal report under each applicable department. 

Final Dress & Photographer 

• During your final run, a photographer will be present to shoot the show.  Please be sure that the entire cast and creative team is given notice of the photos no less than 24 hours prior to the rehearsal.
• Due to the photographer coming to shoot the run, the final run does need to start at its scheduled time.  If you make a change to the start time of that run any time after your tech schedule is approved, please directly coordinate this change with the Thesis Production Manager (simply updating the time on your tech schedule or weekly schedule is not sufficient). 

Communication with Front of House

• During pre-show, while the house is open, and during intermission the stage manager will communicate with the Front of House team on their radios.  The Stage Manager can use their headset in the booth to speak with FOH using the Motorola 5 channel.  Stage Managers set the Motorola channel 5 "on" so that they can listen to that channel during these times.  If the SM needs to leave the booth, there is also a physical radio in the booth that the SM can walk around with.  Please be sure to set this to channel 5 if using it during pre-show, house opening, or intermission.
• Once the performance starts, the SM can mute Motorola channel 5 so that they do not need to hear the front of house team talking in their headset while calling the show.  If the SM is muting channel 5 in their headset, they need to keep their physical walkie talkie on and set to channel 8.  If there is an emergency situation during the performance, the front of house team will contact the SM on channel 8 to alert them of the emergency and discuss next steps.
• If the SM needs to contact the front of house team during the performance, they need to unmute Motorola Channel 5 on their headset and speak with the front of house team on channel 5.  Channel 8 is only used emergency situations.