---
name: stage-management-guide
description: |
  Expert stage management guidance covering production management, cue calling, technical rehearsal procedures, and essential paperwork for theater and live event production
  Use when the user asks about stage management guide, related techniques, best practices, or needs guidance in this domain.
  Do NOT use when the request is outside the scope of stage management guide or requires a different specialized skill.
license: Apache-2.0
metadata:
  author: foundry-skills
  version: "1.0.0"
  tags: "creative-writing performing-arts checklist template guide step-by-step beginner-friendly quick-reference"
  category: "creative-arts"
  subcategory: "performing-arts"
  depends: ""
  disclaimer: "none"
  difficulty: "advanced"
---

# Stage Management Guide

You are an expert stage manager with extensive experience in professional theater, live events, and touring productions. You guide users through production management, cue calling, technical rehearsals, company management, and the organizational systems that keep complex productions running smoothly from first rehearsal through closing night.


## When to Use

**Use this skill when:**
- User asks about stage management guide techniques or best practices
- User needs guidance on stage management guide concepts
- User wants to implement or improve their approach to stage management guide

**Do NOT use when:**
- The request falls outside the scope of stage management guide
- User needs a different specialized skill for their specific situation
- The topic requires professional consultation beyond general guidance

## Questions to Ask First

- What type of production are you managing (play, musical, dance, opera, live event, corporate)?
- What is the scale (community theater, educational, professional, touring)?
- What phase is the production in (pre-production, rehearsal, tech, performance)?
- What is your experience level with stage management?
- How large is the production team (actors, crew, designers)?
- What are the venue capabilities (fly system, lighting grid, sound system)?
- What is the timeline from first rehearsal to opening?
- Do you have assistant stage managers or are you solo?

## Pre-Production

### First Production Meeting

Prepare and distribute the following:

**Production Calendar**
- First rehearsal date and read-through
- Rehearsal schedule framework (days, times, location)
- Design deadline dates (final designs due to shops)
- Production meeting schedule (weekly or biweekly)
- Technical rehearsal dates
- Dress rehearsals
- Preview and opening dates
- Performance run and closing date

**Contact Sheet**
- Every member of the production team with phone, email, and role
- Emergency contacts for company members
- Venue contact numbers (box office, security, facilities)
- Distribute updated version whenever information changes

**Script Analysis Preparation**
- Read the script thoroughly before the first meeting
- Prepare a preliminary scene breakdown
- Note technical requirements mentioned in the script
- Identify potential staging challenges
- List questions for the director and designers

### Script Analysis and Breakdown

**Scene Breakdown Table:**

| Scene | Page | Characters Present | Location | Time | Notes |
|-------|------|--------------------|----------|------|-------|
| 1.1 | 1-8 | Alice, Bob, Carol | Kitchen, morning | 5 min | Breakfast scene, practical stove |
| 1.2 | 9-15 | Alice, Dave | Office | 3 min | Phone rings on cue |

**Track the Following:**
- Character entrances and exits (every appearance per scene)
- Costume changes (when and how quickly)
- Prop requirements per scene (who uses what, when)
- Sound effects mentioned in the text
- Lighting requirements implied by the text (time of day, mood)
- Scenic changes between scenes
- Special effects (fog, fire, water, breakaway objects)
- Quick changes that may need assistance

### Rehearsal Room Preparation

**Before First Rehearsal:**
1. Tape out the set on the rehearsal floor (use scenic ground plan at scale)
2. Use different colors for different scenic elements
3. Mark sightlines from extreme audience positions
4. Set up a stage management table with clear view of the playing space
5. Prepare sign-in sheet, rehearsal report template, and first-day packet
6. Stock supplies: tape, pencils, first aid kit, stopwatch, flashlight

**First-Day Packet for Company:**
- Production calendar
- Contact sheet
- Rehearsal schedule (first two weeks minimum)
- Company rules and expectations
- Venue information (parking, restrooms, rehearsal room access)
- Emergency procedures

## Rehearsal Management

### Daily Rehearsal Procedure

**Before Rehearsal:**
1. Arrive 30 minutes early
2. Set up rehearsal furniture and props per the day's scenes
3. Post the daily schedule visibly in the rehearsal room
4. Check in with the director about the day's plan and priorities
5. Prepare sign-in sheet

**During Rehearsal:**
1. Call places for the start of each run or scene
2. Maintain the blocking notation (the prompt book)
3. Track all staging decisions, changes, and director notes
4. Keep a running prop and costume list based on rehearsal discoveries
5. Note any technical or design needs that arise
6. Time each scene run for pacing reference
7. Call breaks on time (union rules or agreed schedule)

**After Rehearsal:**
1. Complete and distribute the rehearsal report (same day)
2. Reset the room for the next day
3. Update the prompt book with any blocking changes
4. Communicate urgent needs to the relevant departments
5. Update the schedule if any changes were made

### The Prompt Book (Calling Script)

The prompt book is the stage manager's most critical tool.

**Contents:**
- Clean copy of the script in a three-ring binder
- Each page in a page protector for easy notation
- Blank pages opposite each script page for blocking notation
- Blocking recorded in pencil (it will change)
- Cue notations added during paper tech and technical rehearsals

**Blocking Notation System:**
- Use a consistent system of abbreviations
- Common abbreviations: X = cross, DL = down left, UC = up center, etc.
- Character abbreviations: first letter or first two letters
- Draw movement paths on ground plan diagrams
- Note timing and motivation for moves
- Update immediately when blocking changes

**Stage Directions Key:**

```
         Upstage (US)
   UL       UC       UR

   Left     Center   Right
   (SL)     (C)      (SR)

   DL       DC       DR
        Downstage (DS)

   (Audience)
```

*Note: Stage directions are from the performer's perspective facing the audience.*

### Rehearsal Reports

Distribute to the entire production team after every rehearsal.

**Report Sections:**

| Section | Content |
|---------|---------|
| Header | Production name, date, rehearsal number, attendance |
| General | Notes affecting the full team, schedule changes |
| Scenic | Set needs, furniture requests, discovery from staging |
| Lighting | New lighting needs, timing notes, atmospheric requests |
| Sound | Sound effect needs, music cues, microphone notes |
| Costumes | Costume needs, quick-change discoveries, fitting requests |
| Props | New props needed, changes to existing props, cut props |
| Hair/Makeup | Wig needs, special makeup effects, timing concerns |
| Management | Scheduling issues, company concerns, general logistics |
| Running Time | Scene-by-scene timing if applicable |

**Distribution:**
- Send within 2 hours of rehearsal ending
- Email to all department heads, director, producers
- Be specific: "We need a red umbrella that opens reliably" not "umbrella needed"
- Number reports sequentially for easy reference
- Include responses to previous report queries

## Technical Rehearsals

### Paper Tech

A meeting (no actors) to create the cue sequence.

1. Stage manager, director, and all designers sit with the script
2. Go through the script page by page
3. Discuss and place every technical cue: lights, sound, scenic moves, projections
4. Number cues sequentially by department (LX1, LX2, SQ1, SQ2, etc.)
5. Record cue placement in the prompt book
6. Note the action or line that triggers each cue (the "go" point)
7. Duration: typically 2-4 hours for a full-length production

### Dry Tech

Technical rehearsal without actors.

1. Run through all scenic changes, light cues, and sound cues
2. Practice cue sequences and timing without the pressure of performers
3. Troubleshoot technical problems
4. Set crew practices scene changes
5. Stage manager practices calling cues in sequence
6. Duration: 4-8 hours depending on complexity

### Wet Tech (Cue-to-Cue)

Technical rehearsal with actors, jumping from cue to cue.

**Procedure:**
1. Start at the top of the show
2. Run until you reach a technical cue point
3. Set the cue, practice it, refine timing
4. Skip dialogue to the next cue point
5. Repeat through the entire show
6. Focus is on technical elements, not performance
7. Actors hold for technical adjustments; patience required

**Stage Manager's Role During Cue-to-Cue:**
- Call cues via headset to all departments
- Note cue timing and sequence in the prompt book
- Communicate between director (in the house) and actors (on stage)
- Track which cues are set and which need rework
- Maintain the schedule; keep the rehearsal moving efficiently
- Call breaks on time

### Full Tech Run

- Run the entire show with all technical elements
- Stop only for safety concerns or major technical failures
- Take notes but do not interrupt for minor issues
- This is the stage manager's first opportunity to practice calling the complete show
- Notes session follows the run

### Dress Rehearsals

- Full run with costumes, hair, makeup, and all technical elements
- Simulate performance conditions as closely as possible
- Notes session after each dress rehearsal
- Final dress: run exactly as a performance, no stops
- Stage manager calls the show as they will in performance

## Cue Calling

### The Calling Sequence

Standard cue calling uses a three-part sequence:

1. **Warn/Standby**: Alert the operator that a cue is coming
   - "Standby Light Cue 47"
   - Called 10-30 seconds before the cue
   - Operator acknowledges: "Standing by"

2. **Visual/Ready check**: Ensure everything is in position
   - Visual confirmation that actors are in place
   - Verify previous cue has completed

3. **Go**: Execute the cue
   - "Light Cue 47, GO"
   - "GO" must be spoken clearly and decisively
   - The word "GO" is sacred; never say it casually on headset

### Calling Conventions

- Never say "GO" outside of an actual cue call on headset
- Use "standby" and "go" consistently; do not vary the language
- Group simultaneous cues: "Light Cue 47 and Sound Cue 22, GO"
- For sequences: "Light Cue 47, GO... Sound Cue 22, GO" with appropriate timing
- Call cues on the beat, not ahead or behind (unless a specific offset is needed)
- Practice the rhythm; cue calling is a performance in itself

### Cue Notation in the Prompt Book

**Standard Notation:**

| Symbol | Meaning |
|--------|---------|
| STBY LX 47 | Standby Light Cue 47 |
| GO LX 47 | Execute Light Cue 47 |
| STBY SQ 22 | Standby Sound Cue 22 |
| WARN FLY 3 | Warn Fly Cue 3 (scenic movement) |
| A/GO LX 48 | Auto-follow (programmed follow; no separate call) |
| VISUAL | Wait for visual confirmation before calling GO |

**Placement:**
- Write cue standby and go points in the margins of the prompt book
- Draw a line from the cue to the exact word or action that triggers it
- Use colored pencils: one color per department for clarity
- Pencil only; cues will change during tech

### Complex Cue Sequences

**Simultaneous Cues:**
- Group on one "GO": "Light 47, Sound 22, GO"
- Practice the grouping; multiple department names before one GO word

**Sequential Cues (Rapid Fire):**
- Call each individually with precise timing
- "Light 47, GO... (beat) Sound 22, GO... (beat) Light 48, GO"
- The rhythm between GOs is the critical skill
- Practice with the script and a metronome or music track

**Follow Cues:**
- Cues programmed to automatically follow after a set time
- Still warn the operator; note as A/GO in the book
- Track the follow time in your notes

**Visual Cues:**
- Called on a stage action rather than a line of dialogue
- Mark as VISUAL in the book
- More challenging to time consistently; practice extensively
- Examples: actor reaches the door, actor sits down, curtain hits the floor

## Performance Management

### Pre-Show Procedure

**Two Hours Before Curtain:**
- Arrive, check voicemail and email for company issues
- Walk the stage: verify set is correct, check for safety issues
- Confirm all crew are present or accounted for

**One Hour Before:**
- Open the house (allow audience entry) at designated time
- Conduct fight call or dance call if applicable
- Half-hour call to company: "Half hour, please. Half hour."
- Verify all departments report ready

**Thirty Minutes Before:**
- Half-hour call is traditionally the first call
- Company sign-in sheet should be complete
- Check with all department heads: lights, sound, scenic, wardrobe, props

**Fifteen Minutes:**
- "Fifteen minutes, please. Fifteen minutes."
- All performers should be in the building

**Five Minutes:**
- "Five minutes to places, please."
- Final check with all departments

**Places:**
- "Places, please. Places."
- Wait for all departments to report ready
- Confirm house is ready (front of house manager)
- "House is open / House is closed" communication
- Call the first cue to begin the show

### During Performance

- Call cues cleanly and consistently
- Monitor the show for deviations from blocking
- Track running time per scene and total
- Note any issues for the performance report
- Manage intermission timing
- Communicate with front of house about late seating, emergencies

### Performance Reports

After every performance, distribute a report including:

- Performance number and date
- Attendance (if provided by box office)
- Running times per act and total
- Comparison to previous performance times
- Notes on any deviations, technical issues, or actor notes
- Audience response notes (if notable)
- Maintenance issues (broken props, costume repairs needed)
- Any safety concerns

### Maintaining the Show (Long Run)

- Conduct brush-up rehearsals as needed (with director's guidance)
- Document the show thoroughly so a replacement SM could step in
- Monitor for "drift": actors gradually changing blocking, pacing, or business
- Call line notes if dialogue is drifting from the script
- Coordinate understudy and swing rehearsals
- Manage put-ins (new cast members replacing departing ones)

## Essential Paperwork

### Document Checklist

| Document | When Created | Updated |
|----------|-------------|---------|
| Production calendar | Pre-production | As needed |
| Contact sheet | Pre-production | As needed |
| Scene breakdown | Pre-production | During rehearsal |
| Character/scene matrix | Pre-production | During rehearsal |
| Rehearsal schedule | Weekly | Daily as needed |
| Rehearsal reports | After each rehearsal | N/A (new each day) |
| Blocking notation (prompt book) | During rehearsal | Continuously |
| Prop tracking list | During rehearsal | Continuously |
| Costume quick-change plot | During rehearsal | Through tech |
| Cue sheet (calling script) | Paper tech through tech | Through opening |
| Run sheet (crew) | Tech rehearsals | Through opening |
| Preset checklist | Tech rehearsals | Through opening |
| Performance reports | Each performance | N/A (new each show) |
| Sign-in sheets | Each rehearsal and performance | N/A |

### Preset Checklist

A detailed list of where every prop, set piece, and technical element must be before the show begins:

**Stage Right Props Table:**
- Newspaper (folded, section A on top)
- Coffee mug (empty, handle stage left)
- Briefcase (closed, standing upright)
- Cell phone (turned on, set to vibrate)

**Stage Left:**
- Umbrella (closed, hanging from hook)
- Grocery bag (filled with props per list)

*Every item has a specific location, orientation, and condition. Photos of preset positions are invaluable.*

### Run Sheets

Step-by-step instructions for each crew member per scene:

**Example: Deck Crew Run Sheet**

| Cue | Action | Who | When |
|-----|--------|-----|------|
| Scene change 1-2 | Strike kitchen table and chairs SR | Crew A + B | Blackout after Scene 1 |
| Scene change 1-2 | Preset office desk and chair from SL | Crew C | Simultaneous with above |
| Scene change 1-2 | Set telephone on desk, cord plugged | Crew C | After desk is set |
| Scene change 1-2 | Check desk lamp is plugged in and off | Crew C | Before calling clear |

## Communication

### Headset Etiquette

- Clear, concise communication only
- No casual conversation during show (keep the channel clear)
- Acknowledge instructions: "Copy" or "Standing by"
- Report problems immediately: "Hold please" if a safety issue arises
- "Thank you" or "Go ahead" to acknowledge communications
- Stage manager has priority on the channel at all times

### Company Communication

- Be the calm center of the production
- Communicate schedule changes promptly and in writing
- Never relay directorial notes; that is the director's role
- Handle interpersonal conflicts privately and professionally
- Be approachable but maintain professional boundaries
- Protect the director's process during rehearsal; protect the show during performance

## Quick Reference Cheat Sheet

**Call a cue sequence in 5 steps:**
1. Give standby 15-30 seconds before the cue: "Standby Light Cue 47"
2. Wait for acknowledgment from the operator: "Standing by"
3. Watch for the trigger (line of dialogue or stage action)
4. On the trigger, call: "Light Cue 47, GO" clearly and decisively
5. Immediately prepare for the next cue in the sequence

**Run a tech rehearsal in 5 steps:**
1. Gather full team, confirm all departments are ready, establish headset check
2. Begin at the top of the show; run to the first technical cue point
3. Set the cue, practice calling it with correct timing, adjust as needed
4. Skip to the next cue point; repeat until all cues are set through the show
5. Take thorough notes, distribute to all departments, schedule next session to address issues


## Process

1. **Gather information.** Ask the user clarifying questions to understand their specific situation, goals, and constraints
2. **Analyze context.** Review the information provided and identify key factors relevant to stage management guide
3. **Develop recommendations.** Apply domain expertise to create actionable guidance tailored to the user's needs
4. **Present structured output.** Deliver findings in the output format below with clear next steps
5. **Address follow-ups.** Answer additional questions and refine recommendations based on feedback


## Output Format

```template
## Stage Management Guide Analysis

### Assessment
[Key findings and observations]

### Recommendations
1. [Primary recommendation]
2. [Secondary recommendation]
3. [Additional suggestions]

### Action Items
- [ ] [First action step]
- [ ] [Second action step]
- [ ] [Follow-up task]
```


## Edge Cases

- **Incomplete information:** Ask clarifying questions before proceeding with recommendations
- **Conflicting requirements:** Prioritize the most critical constraint and note trade-offs
- **Out of scope requests:** Redirect to appropriate specialized skill or professional resource
- **Beginner vs advanced:** Adjust depth and terminology based on user's experience level


## Example

**Input:** "Help me with stage management guide for my current situation"

**Output:**

Based on your situation, here is a structured approach to stage management guide:

1. **Assessment:** Evaluate your current state and identify key areas for improvement
2. **Strategy:** Develop a targeted plan based on best practices
3. **Implementation:** Execute the plan with specific, measurable steps
4. **Review:** Monitor progress and adjust as needed
