i have fallen down a stage managing rabbit hole over the past couple of days and I binged all of this series yesterday. it has been so helpful and I have learned so much. thank you :)
For musicals, I use a digital call script, so I'm able to just clip out and paste right into my script a section of the score that is relevant, such as the timing of the bump at the end of the song, or a short dance break. I'll also put in counts, so if anyone has to step in and call who isn't me, they have a choice.
I'm an actor morphing into SM for community theatre ~ your series is terrifically helpful. Illustrating the time lapse after "GO" was especially appreciated. Calling my first show tonight! Merde!
I was taught to use the word "Lex" for lights - it's shorter than both "lights" and "L.X." and trips off the tongue nicely. For tough cues I found dots at the dollar store that comes in sheets. There are multiple colours and I can peel and stick them in various places in the script. Inevitably the director changes their mind multiple times about when the effect should take place. I can move the dots without involving erasing or re-printing the pages. Once it's locked in I can make it more permanent if I need to. Thanks so much for these videos. It looks like theatre won't be back around here for a long time and this helps to ease the pain.
UK stage manager here. This video is very interesting and whilst I lay out my books very differently I can definitely see some benefits to this method. I've always printed off a "blocking sheet" for every page of script so my book is a double page spread with script on the left and blocking sheet on the right. My blocking sheet has four columns, one for cue numbers, one for cue descriptions/notes (I don't leave a description for every cue but always label things like buttons / blackouts so I know exactly what I'm calling). The last two columns are for blocking notation and blocking / layout sketches. I don't like to adjust my script too much before printing as I like to keep my page numbers consistent with the cast / creatives. If I need extra space half way down a page to add something in I will make a copy of the page so I have two pages with the same number and blank out the bottom half of one and the top half of the other. When it comes to cues I underline the relevant syllable in the script and write the cue number on the opposite page. If I have two cues together, I write them above each other with a square bracket around them both on the left. Visual cues are labelled in the notes column and underlined. Auto follows go in brackets. The main problem with my method is I can't draw a line from the cue line to the cue number as they are on separate pages, however for the majority of my stage management work I don't have the time to do this anyway. I don't always have the luxury of being able to sit in a plotting session and get my cues as they are plotted (rarer still do I get them in advance). A lot of the time my cues go in the book whenever I can get a spare hour here and there with the LD in between our manic schedules. Sometimes if we're really pushed for time I might end up having to write in some cues on the go in real time during a tech. It's not always that busy but for the times when it is having a dedicated space for cues is really important to me so I can write cues in the book at breakneck speed. I can't do this if I have to get out a ruler every time I need to write a cue. I think there's no right or wrong way to layout a book and as long as it is clear enough that someone else could step in and call from it that's all that matters at the end of the day. Different methods work better for different scenarios and I would definitely lay things out differently if I was making a new permanent copy of an existing book.
While I understand the - sections - but I think it’s better to keep actors, costumes, props, set pieces, sound and music - on the opposite page (in a two page layout) WITH the script ie dialogue… that way you have everything sync’d with the words to facilitate queuing… As for blocking, I like using an Insta360 to record blocking as the rehearsals progress and as blocking changes… with the understanding that the video will only be used for the production stage “book” and will not appear in any other venue (unless there full agreement with the actors and any compensation… and IF EQUITY doesn’t like that… I get non-Equity talent for the production!)
I understand the fear of relying on technology if you have a digital call script, but I always save mine to a cloud so that if my laptop or tablet fails me, I can use my phone. This also makes it easier to share in the event that you can't call the show because you have access to it almost anywhere. I do have the script saved in multiple locations, though. For example, on an external drive or USB that I always have on me, in my files on my laptop, on my phone, and in the cloud. Because I will always have one of those things on me. And, I make it available offline in the cloud so I don't have to worry if the internet isn't working.
One thing that has helped me with consistency is marking when to start speaking in the script. When I am handwriting, it's a dot under the placement. When I digitize, I use the highlight tool in Word. I'll pick a spot that makes sense in tech, and move it based on how it felt through previews. This way I'm not second guessing if I'll have enough time to say "Lights 217.6 and Sound 43.8" in time to make the Go. One less thing to think about! I scan a paper script after every tech and preview day. I also shoot to have the digital script done by the end of the first full week. I have had the luxury a few times of being able to go digital though tech and call off a laptop, but every singe performance someone has paid to see I've called from paper--though sometimes with the laptop up too so I can follow along and make sure changes are reflected! Ideally, once I'm comfortable with a show I'm calling from something with zero pencil marks in it. I box stand bys and warnings and put cues on lines when handwriting, but when typing in cues I put the standbys and warnings by themselves un-boxed in the margin and cues are boxed together with a leader line. Not sure why, just how I've always done it. For cue lights I stole an idea from a stage manager many years ago that they get a heavy dot (like ●) followed by the number of the switch, because to me a number in a box is the duration of a cue in seconds (i.e. a 5 second fade) and goes after the cue identifier. I also play with using the # sign as a signifier that the number after it is a cue light switch number, and will write "#4 OFF - Jean Enter". I've never worked on a show with the broadway style bank of 3-4 colored lights per dept so the number of the switch is the easiest way to think of them for me. Cue depts are written mix of upper and lower so there's a contrast between the dept and the identifier for me: Lx, Sd, Rail, Deck, Tab (and ALWAYS written and called in that order). No Q's or X'es except for Lx. I find LQ, SQ, DQ and LX, SX, VX too similar even though people use those systems. That's a pass for me! We love a Right Margin. If i'm trying to keep pagination (for some reason) rather than drag things in the ruler as you showed I'll open the margins dialogue in Word and drop the left by 1/2" and add 1/2" to the Right so the total writing space remains the same and page breaks don't move. Keep adjusting until it feels right. But like...don't keep the pagination the same. Be judicious in removing line breaks and page direction. I want as many minutes of acting on a page as possible, so I am seeing a birds-eye view of as much time as I can at once. I've cut an 88 page play down to 52 pages, and another from 105 to 56. Also be ready to ADD page breaks. No cues should happen within, like, 15 seconds from the top of the page. Finally, on visual cues I like to not just put in the thing that triggers the cue, but if possible the 2 or 3 things that happen right before it. So if it's on the Big Kick, I might write "Vis: Kick, punch, punch, wind-up, KICK" with the last kick boxed/carroted.
I truly look forward to your comments every time I post a video. This is so great. Re: condensing pages, do you do this for plays and musicals alike? I find I generally need more room to write rather than more info on a page. If there's a quick cue on the next page, I'll add an arrow at the bottom corner to warn me to flip the page quick, or write in the start of the cue so the go is the only thing that actually has to be said on the next page (if it's REALLY quick after the page turn).
@@HalfHourCall great point about musicals. Definitely prefer spacing things out to make sure cues aren't crowded. That's why it's great use dance counts like you showed. Keeps pages more dense than a piano/vocal score while giving more specificity than a libretto. I think with a musical I don't condense as much, no. With plays you have more of moments where a playwright might put a single word on a line and then a sentence fragment on the next and a few words on a third line when it all can fit together in a single space, thank you.
For the most recent show i stage managed, I had to call half of it by stop watch because majority of the performers weren't in rehearsals and tech was designing by video and i was putting in cues by the timestamp. it was absolute hell :/
Missed part one? Watch here! th-cam.com/video/0m8BZebWKbM/w-d-xo.html
Thank you for watching! What are your top tips for calling shows?
High school stage manager here. This series has been so incredibly helpful for me since we have our first musical starting soon!
i have fallen down a stage managing rabbit hole over the past couple of days and I binged all of this series yesterday. it has been so helpful and I have learned so much. thank you :)
Wow! That’s so much information for one day! So glad it’s helpful, thank you for watching!!!
For musicals, I use a digital call script, so I'm able to just clip out and paste right into my script a section of the score that is relevant, such as the timing of the bump at the end of the song, or a short dance break. I'll also put in counts, so if anyone has to step in and call who isn't me, they have a choice.
I'm an actor morphing into SM for community theatre ~ your series is terrifically helpful. Illustrating the time lapse after "GO" was especially appreciated. Calling my first show tonight! Merde!
I was taught to use the word "Lex" for lights - it's shorter than both "lights" and "L.X." and trips off the tongue nicely.
For tough cues I found dots at the dollar store that comes in sheets. There are multiple colours and I can peel and stick them in various places in the script. Inevitably the director changes their mind multiple times about when the effect should take place. I can move the dots without involving erasing or re-printing the pages. Once it's locked in I can make it more permanent if I need to.
Thanks so much for these videos. It looks like theatre won't be back around here for a long time and this helps to ease the pain.
2:18 - "and all that jazz". We just finished our season of Chicago last week and I miss everyone. This comment made me tingle lol
Thank you so much sharing your experience and tips!! I really appreciate it!!
UK stage manager here. This video is very interesting and whilst I lay out my books very differently I can definitely see some benefits to this method. I've always printed off a "blocking sheet" for every page of script so my book is a double page spread with script on the left and blocking sheet on the right. My blocking sheet has four columns, one for cue numbers, one for cue descriptions/notes (I don't leave a description for every cue but always label things like buttons / blackouts so I know exactly what I'm calling). The last two columns are for blocking notation and blocking / layout sketches. I don't like to adjust my script too much before printing as I like to keep my page numbers consistent with the cast / creatives. If I need extra space half way down a page to add something in I will make a copy of the page so I have two pages with the same number and blank out the bottom half of one and the top half of the other. When it comes to cues I underline the relevant syllable in the script and write the cue number on the opposite page. If I have two cues together, I write them above each other with a square bracket around them both on the left. Visual cues are labelled in the notes column and underlined. Auto follows go in brackets. The main problem with my method is I can't draw a line from the cue line to the cue number as they are on separate pages, however for the majority of my stage management work I don't have the time to do this anyway. I don't always have the luxury of being able to sit in a plotting session and get my cues as they are plotted (rarer still do I get them in advance). A lot of the time my cues go in the book whenever I can get a spare hour here and there with the LD in between our manic schedules. Sometimes if we're really pushed for time I might end up having to write in some cues on the go in real time during a tech. It's not always that busy but for the times when it is having a dedicated space for cues is really important to me so I can write cues in the book at breakneck speed. I can't do this if I have to get out a ruler every time I need to write a cue. I think there's no right or wrong way to layout a book and as long as it is clear enough that someone else could step in and call from it that's all that matters at the end of the day. Different methods work better for different scenarios and I would definitely lay things out differently if I was making a new permanent copy of an existing book.
While I understand the - sections - but I think it’s better to keep actors, costumes, props, set pieces, sound and music - on the opposite page (in a two page layout) WITH the script ie dialogue… that way you have everything sync’d with the words to facilitate queuing…
As for blocking, I like using an Insta360 to record blocking as the rehearsals progress and as blocking changes… with the understanding that the video will only be used for the production stage “book” and will not appear in any other venue (unless there full agreement with the actors and any compensation… and IF EQUITY doesn’t like that… I get non-Equity talent for the production!)
I understand the fear of relying on technology if you have a digital call script, but I always save mine to a cloud so that if my laptop or tablet fails me, I can use my phone. This also makes it easier to share in the event that you can't call the show because you have access to it almost anywhere. I do have the script saved in multiple locations, though. For example, on an external drive or USB that I always have on me, in my files on my laptop, on my phone, and in the cloud. Because I will always have one of those things on me. And, I make it available offline in the cloud so I don't have to worry if the internet isn't working.
One thing that has helped me with consistency is marking when to start speaking in the script. When I am handwriting, it's a dot under the placement. When I digitize, I use the highlight tool in Word. I'll pick a spot that makes sense in tech, and move it based on how it felt through previews. This way I'm not second guessing if I'll have enough time to say "Lights 217.6 and Sound 43.8" in time to make the Go. One less thing to think about!
I scan a paper script after every tech and preview day. I also shoot to have the digital script done by the end of the first full week. I have had the luxury a few times of being able to go digital though tech and call off a laptop, but every singe performance someone has paid to see I've called from paper--though sometimes with the laptop up too so I can follow along and make sure changes are reflected! Ideally, once I'm comfortable with a show I'm calling from something with zero pencil marks in it.
I box stand bys and warnings and put cues on lines when handwriting, but when typing in cues I put the standbys and warnings by themselves un-boxed in the margin and cues are boxed together with a leader line. Not sure why, just how I've always done it.
For cue lights I stole an idea from a stage manager many years ago that they get a heavy dot (like ●) followed by the number of the switch, because to me a number in a box is the duration of a cue in seconds (i.e. a 5 second fade) and goes after the cue identifier. I also play with using the # sign as a signifier that the number after it is a cue light switch number, and will write "#4 OFF - Jean Enter". I've never worked on a show with the broadway style bank of 3-4 colored lights per dept so the number of the switch is the easiest way to think of them for me.
Cue depts are written mix of upper and lower so there's a contrast between the dept and the identifier for me: Lx, Sd, Rail, Deck, Tab (and ALWAYS written and called in that order). No Q's or X'es except for Lx. I find LQ, SQ, DQ and LX, SX, VX too similar even though people use those systems. That's a pass for me!
We love a Right Margin. If i'm trying to keep pagination (for some reason) rather than drag things in the ruler as you showed I'll open the margins dialogue in Word and drop the left by 1/2" and add 1/2" to the Right so the total writing space remains the same and page breaks don't move. Keep adjusting until it feels right.
But like...don't keep the pagination the same. Be judicious in removing line breaks and page direction. I want as many minutes of acting on a page as possible, so I am seeing a birds-eye view of as much time as I can at once. I've cut an 88 page play down to 52 pages, and another from 105 to 56. Also be ready to ADD page breaks. No cues should happen within, like, 15 seconds from the top of the page.
Finally, on visual cues I like to not just put in the thing that triggers the cue, but if possible the 2 or 3 things that happen right before it. So if it's on the Big Kick, I might write "Vis: Kick, punch, punch, wind-up, KICK" with the last kick boxed/carroted.
Great tips!
I truly look forward to your comments every time I post a video. This is so great. Re: condensing pages, do you do this for plays and musicals alike? I find I generally need more room to write rather than more info on a page. If there's a quick cue on the next page, I'll add an arrow at the bottom corner to warn me to flip the page quick, or write in the start of the cue so the go is the only thing that actually has to be said on the next page (if it's REALLY quick after the page turn).
@@HalfHourCall great point about musicals. Definitely prefer spacing things out to make sure cues aren't crowded. That's why it's great use dance counts like you showed. Keeps pages more dense than a piano/vocal score while giving more specificity than a libretto. I think with a musical I don't condense as much, no. With plays you have more of moments where a playwright might put a single word on a line and then a sentence fragment on the next and a few words on a third line when it all can fit together in a single space, thank you.
For the most recent show i stage managed, I had to call half of it by stop watch because majority of the performers weren't in rehearsals and tech was designing by video and i was putting in cues by the timestamp. it was absolute hell :/