It is also possible to plot animals or children – the Stage Manager can then just hand this plot over to the animal handler or chaperone. The more detail added the better, as it means that it is easier for someone to pick up the role if they were ill.
The function of a tech plot is to enable the crew to plot, and know the details of, everything that happens on stage so they can do the jobs they need to do at the correct time.
This way, you can find out whether to use a real candle, in which case everything will need to be flamebared, or whether it would be possible to use a fake one.
The running list is a list of everything that is useful to note as part of the show, usually curated by the Stage Manager and the Deputy Stage Manager on the book, so that everybody knows who does what and when. This includes all of the props and scenery used in the show, so that the ASM or SM can carry out their pre-show checks. It is important because it often also includes information that the crew might need to know. Taking quick changes as an example, what actors, when, and what they’re changing into would all be noted. This reduces stress, helps the show to flow and also develops trust.
The fly plot will show how, for a specific performance, the system of lines/ropes, blocks/pulleys, counterweights and other equipment will be used to fly components (e.g. scenery or people) between the view of the audience and usually, back to the fly floor. It documents all of the items that are to be hung from the flies for a specific show. The lines are numbered and it shows which pieces are hung on which lines, and their position relative to the stage and to each other, as well as any other items needing to be suspended.
A hanging plot documents the technical specifications of the theatre, listing technical information such as the number of bars, the length of each and maximum weight load, spacing between them and measurements relating to the size of the performance spaces. Performance venues should all be able to supply in advance their standard hanging plot.
Physical limitations (and opportunities) of the venue size and its standard hanging plot will need to be considered. If additional equipment is required in a specific venue, this will need to be arranged well in advance and the necessary health and safety requirements met. Building, occupational safety and fire codes limit the types and quantity of rigging permitted for a given theatre configuration.
Therefore, both the hanging and the fly plot relate to the tech plot because if there are big pieces of scenery being moved during scene changes, bars may have to be flown back to the grid so that they can be moved on or off stage. If everyone knows what is being flown in and out, when it is happening, what is hung on what bars, and how much the bar weighs, there is less likely to be an acciden, resulting in damage or delays.
6. Costume is an integral part of the performance experience, so liaison with the costume department is very important for stage management. Decisions about set design, props, lighting and the tech plot all have implications for the costume team, as do rehearsal schedules.
Stage management are likely to liaise with the costume department with technical drawings, so that they can be aware of any problems that they might encounter in designing costumes – for example if there are lots of steps in a set, the costume department might talk to the director, and decide against putting an actor in high heels, or wide skirts if the doors are narrow.
Related to this, the tech plot will also be shared, because if there are special effects, pyrotechnics, costume may wish to choose different fabrics or designs in order to minimise accidents or damage to the material. It is important to note that if pyrotechnics were involved, then the costumes would most likely need to be flamebared, in which case again, costume might wish to use a different fabric.
The props plot also needs to be shared with the costume department, because if a role requires items to be produced from a pocket, pockets need to be designed in to the costume.
The stage management team will also share the entrances and exits plot with the costume department, because they need to know how long that person has for a quick change, when they come off stage and when they need to be called back.
Finally, stage management will stay in close contact with costume, passing on changes and adaptions as they happen. They will also give them a copy of the rehearsal schedule, so that there is sufficient time for costume calls and parades, and so that this doesn’t clash with any rehearsals. It is usually the stage management team who send the actors on to the wardrobe department, or to get fitted, so costume also need to be aware of who is coming, and when.
Stage management will find out what certificates need to be produced and displayed, for example with weaponry and pyrotechnics, and will arrange this as quickly as possible, so that this documentation is in place in time. The same thing will happen with changes additions to props, set changes and the use of effects made in later stages of rehearsal
Company or Stage Managers would normally allocate dressing rooms, but at Rose Bruford it is the costume department. It is therefore clear that an early responsibility of Company or Stage Manager would be to confirm what is expected in any venue.
8b) The Deputy Stage Manager prepares lighting or sound cues as part of their show Bible. It is also their job to write in the standby cues, as well as the ‘go’ cues, so that anyone else reading the prompt copy knows when prepare people.
8c) If out on tour, the Stage Manager liaises with the box office.
8d) The deputy Stage Manager would run the technical rehearsal. Although tasks are normally the responsibility of particular roles, the documentation should be so clear that anyone could step in and take over if one of the crew was taken ill, for example.
It is therefore important that Stage Management establish very quickly what budget is available, and manage spend within that budget. An effective Stage Manager would build up knowledge of where to source props, different rehearsal spaces, and is able to try to negotiate deals which reduce or minimise costs.
The key function of the DSM is to attend all rehearsals and assist with preparations of the rehearsal room, getting the rehearsals started and keeping them flowing. As a result, they have an important role in the dynamic of both the team and the rehearsal process – even just the fact that they are in there taking notes is affecting these dynamics.
The DSM is looked to as a yardstick, both when things are going well and when there are problems – this means that they must at least appear to be calm and collected. If they aren’t, that energy feeds back to the cast and tensions are more likely to arise.
To avoid this, they provide a centre point of communication, from which correct and up-to-date information can be passed on to the relevant department, providing consistency and familiarity. Their main paperwork tasks in rehearsals are to block, prompt, write up and distribute rehearsal notes/ calls for the next day, update the contact sheet, and make the settings and running plots. They also compile provisional props lists and cue synopsis in conjunction with the stage manager and assistant stage manager. They keep record of performer’s hours with respect to union agreement and advises the stage manager of any Health and Safety issues within rehearsals. (SOURCE??)
This results in trust being established between the company and the whole stage management team, which feeds into continuity of the show, ensuring there is a smooth transition from rehearsal room to venue.