Stage Management. Part Three. Talking to the Director. Once you've read the play you will need to sit down and talk to the director. You need to find out if there are any SPECIAL NEEDS for this production that might not be mentioned in the text.
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The DIRECTOR then has the opportunity to talk at length about this particular production.
Before you do your first read through talk to your director and find out if they expect you, the stage manager, to read the STAGE DIRECTIONS.
Use your STOPWATCH to time that first read through! The act times for the first read through eventually are pretty close to the PERFORMANCE times.
Sometimes RESEARCH is introduced. Other times the play is simply read again, with questions asked and research folding into the reading.
It is the stage manager's responsibility to create the PRODUCTION MEETING AGENDA. You'll want to distribute your completed agenda so that everyone has a chance to see it BEFORE the meeting starts.
You will also be using shorthand for the traditional NINE areas of the stage and acting positions.
The letter and the notation corresponds to the letter in the TEXT, letting you know that the move happened at that moment in the text, so the first letter of my blocking notation is always a reference to the place in the SCRIPT where the move took place.
Sometimes a new move is added to a scene in-between TWO EXISTING MOVES. Say after letter A and before letter B, Sarah rises from her chair.
An arrow curving ABOVE an "h” indicates that the cross was made upstage of the chair. An arrow curving BELOW a table indicates that the cross was made downstage of the table, and so on.
If your director asks for a move, make sure that you WRITE IT DOWN. If your actor adds a move, be sure to WRITE IT DOWN.
The MINI GROUND PLAN comes in handy when you have several people onstage and there are multiple moves.