Stage Manager backstage

Does your SM spend most of each show backstage or at the Tech Table/Tech Booth?


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In my theater our stage manager usually just calls from backstage, so the sm would usually just spend all time there. However, during our last show our director moved the sm up to the booth because the actors were bothering him too much (the sm is a little guy who everyone tends to bug)
 
I put backstage... even though we don't technically have a stage manager. Our SM doesn't have much to do with lights and sound... only if we need something or if they need something. And to coordinate show starting/house lights off.
 
What I find interesting in all this is one of the most common complaints I hear is sound and lighting having to work from an isolated booth rather than being out in the audience hearing and seeing what the audience does. But out in the middle of the audience is often not the best place to have a SM calling a show. So I guess an ancillary factor in this might be where the light and sound board operators are located and whether you would prefer a house position for them or a booth they shared with the SM?
 
In my school i am stage manager and i like to be back stage with my crew, quick respose is better that way, i get a wireless, so i am always on headset and i have people running everything, i never touch anything just makes sure things run smoothly. i cant imagin not being back stage personally :(
 
For our current production on Alice in Wonderland, the Stage manager and 3(!) ASM's are all backstage, for the opening scene with the grand curtain closed, I, as technical director/lighting designer cue when the curtains open, but otherwise yeah.

One thing that comes in handy is that I keep the most sensitive ClearCom mic for myself, and I keep it latched the whole show, and the SM's can all hear what's happening on stage through my mic.
 
This seems to vary a lot by theater. At the school, I like to divide the labor between an SM and a well trained ASM, and I stick my SM in the booth. The clear view of the stage gives them a little bit better sense of control I think, and less distractions from backstage. Seems to help with student board ops to have the person calling the show within tactile range. Of course, this varies by production and location - with certain shows it makes more sense to throw the SM backstage, so I can't say that we follow a hard set rule.
 
Oh dear, I'm late to the party. Oh well. When I'm SM'ing (a rare occurance), I prefer to be at the prompt backstage, or I guess it's technically the bastard prompt where I usually am SM'ing from. I'm happy as a clam if I can get a video feed, then I can see the show and be on deck in case anything needs immediate attention.

The show I'm on now, lights, sound (that's me), and the SM are all in the booth, but then again, it is a blackbox. A well known outdoor venue back home has the SM backstage at the prompt with video feed of the conductor, one from a camera hidden in the house (I've yet to find it), and one overhead from a camera on the FOH catwalk. A friend of mine up here who knows the inside scoop on Jersey Boys mentioned that the SM calls the show from a platform above the stage in the wings from a bank of video monitors. His/her only responsibility is calling the show. Two other SM's/ASM's are on the deck handling any issue that comes up during the run.

It's six of one, half a dozen of the other.

I'll drop a few pennies in the jar and be on my way.
 
Actors Equity Association (AEA) requires on a musical that there be two AEA stage managers working the show, for plays they only require one. However they do not specify where the stage managers are located. Most of the time the placement of the SM is determined by where there is space to put them.

Here is the thing, the stage manager's primary function during a performance is to call cues and make sure that the show runs smoothly. Often times putting a stage manager backstage can impede his or her ability to do this. Why? It is human nature, when you have a problem to go to the person with the highest authority, however if a crew member or actor goes to the SM during a show to talk about a prop or costume or whatever it distracts the SM from their job. It is for this reason that we have props people and costume people and ASM working on a show. The crew and ASMs should be the filters for information, so that only show critical information get passed on when needed. It is one thing if some big moving set piece isn't going to move, but very different than the actor who forgot his hat in his quick change. The SM needs to know about the scenery, the hat probably won't affect the show. The ASMs or crew heads backstage show be the people who make most of the decisions backstage, handing off the show critical decisions to the SM.

Having the SM in the booth or FOH creates a useful separation between cast, crew, and the SM. It makes it so that only the information that needs to be passed on get passed on, and makes for less distractions for the SM. Also, being in the booth or an FOH position allows the SM a clear view of the stage. The SM can see the action and thus is better equipped to call cues. Often the only video feeds needed by an SM in the booth are IR and conductor cam.

Now this is not to say that one can't call the show effectively from backstage. It is just very important to establish the fact that the proper chain of command still needs to be followed. If the SM calls from backstage it is not the SMs job to wrangle the crew or cast, and the cast and crew should not be bothering the SM with the questions that should go to ASMs or crew heads. Also the SM should be provided with any video feeds needed to see any view of the stage to make calling cues easier. This may include a front view, a top down view, an IR feed and conductor cam. When calling from backstage it is very important to have good cameras that provide clear images so that the SM can actually see what is going on.

There are certainly pros and cons to both placements for SMs, however most SMs that I have worked with prefer the booth (or FOH) for the sightlines and lack of distractions.
 
Stage Manager is usually in the booth sitting beside the light board op. Sound OP on the other side, and followspots about 10 feet away on the other side. Our booth once had glass enclosing it, but mixing sound was a joke and we have since removed the glass. Depending on the show there's almost always an ASM off stage right (We have no flies, 90% of the scenery comes from SR). ASM usually doubles as curtain puller and sometimes there's a person off SL for props/costumes.

Now that we've purchased some new headsets, we can actually get the entire crew on!
 
For our current production on Alice in Wonderland, the Stage manager and 3(!) ASM's are all backstage, for the opening scene with the grand curtain closed, I, as technical director/lighting designer cue when the curtains open, but otherwise yeah.

One thing that comes in handy is that I keep the most sensitive ClearCom mic for myself, and I keep it latched the whole show, and the SM's can all hear what's happening on stage through my mic.

On our clearcom hub there's a line in port for audio to be sent out through all of the boxes, we take the mono out from the sound board and send it into there. Something you may want to look at.

Our stage manager stays backstage. She has a wireless clear com when we rent them and does occasionally help move scenery. There's absolutely no room in our booth for anyone else other than the board ops.
 
One thing that comes in handy is that I keep the most sensitive ClearCom mic for myself, and I keep it latched the whole show, and the SM's can all hear what's happening on stage through my mic.
FYI, some techs don't necessarily like listening to the SM breath all night long.

As was mentioned, program sound in the comm line can help if people are having trouble hearing things they need to hear.
 
I've been on shows where you hear over the comms, whose mic's on? Generally leaving a mic open irritates people in pro circles... The matrix intercoms, much of the time, will have a program feed into them. Then one can have as much or as little program as desired... Noting however that such systems are beyond teh budget of most schools...
 
I think icewolf08 is pretty much on the mark. I've done the job from both places but would rather call from the deck. It really depends on the show, I think the SM needs to be where he/she can see well enough to call cues as I never depend on calling from notes in a script book, they are just reminders. But in a 'box set' situation, the booth is probably best. And for sure have ASMs and PROPS and COSTUMES take care of the 'small stuff' (if there is such a thing in a live production) and NEVER go find actors.
 
To me this is a meaningless discussion because there are so many variables. In my Black box the SM has to be in the booth because the audience would hear the SM calling cues anywhere else in the space. In larger theaters where you have the option, it depends on the type of show, the skill of the crew, the skill of the SM, and the equipment available to the SM to communicate with the rest of the crew. Too many variables to have a set one way it's done.

As Ship said early on in this discussion, in a pro show, it's almost always back stage. That's where the action is at, there are good video feeds to see what's going on, and good com equipment to be able to communicate with everyone. In a school setting there may not be proper wing space, people may use cheap FRS walkie talkies because they have no a Clear-Com system (that's illegally by the way), there is no video feed backstage, and many other variables... there isn't one clear answer.

Do what works best for your venue, gear, and skill level.
 
Seeing as you can buy walkie talkies at any large store, why would it be illegal to use them as clear coms. Or are those one of those wierd thing like wireless mics (before the big FCC mess) where you are supposed to have a license but can't?
 
The walkies you get at Best Buy or Wally World are FRS radio; Family Radio Service. It's illegal to use the FRS band for commercial uses. With Clear-Com, you can have two people chatting, and the SM can still talk over them and tell them to be quiet. With radios, it's one person at a time. That being said, walkies are useful during load-in/out.
 
The walkies you get at Best Buy or Wally World are FRS radio; Family Radio Service. It's illegal to use the FRS band for commercial uses.
Some retail units are dual FRS/GMRS. FRS frequencies do not require a license and the FCC says on their web site (FCC: Wireless Services: Family Radio Service : Family Home)
It is used by family, friends and associates to communicate within a neighborhood and while on group outings and has a communications range of less than one mile.
and
You may use your FRS unit for business-related communications.


GMRS (General Mobile Radio Service) is similar to FRS but higher powered and does require a license, although it is usually just a matter of applying for it and paying the associated fee, which I believe is $60 for a 5 year license. When licensed you get an FCC registration number, a file number and an assigned call sign. Like FRS, GMRS is primarily intended for family use and is typically an individual holding a license that covers use for themselves and their direct family. However, GMRS licenses can be held by other entities and the FCC defines that the following persons may be permitted to operate under the authority of a GMRS system licensed to a non-individual:

(i) A partnership ........... Licensee’s partners and employees.
(ii) A corporation .......... Licensee’s officers, directors, members and employees.
(iii) An association ........ Licensee’s members and employees.
(iv) A governmental unit Licensee’s employees.
 
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Well, I'm speaking from my own experience. Every show I've done, I've always been at the tech table or in the booth during the show, save for high school, but that's a completely different story.

On a show that I ASMed on, I was responsible for things backstage on SL, and there was another ASM backstage SR. Our SM was up in the booth, and we were all on headset, so that solves the problem about the SM knowing vs. not knowing what's going on back there. They would check in with each of us before calling the first cue.

I don't know if I could do with calling from backstage. Granted, if I had to, I'd find a way to get used to it, but with just the thought of it now, I can't imagine. It's like a whole set of different rules for the same game.
 
My apologies. I heard a few years ago it was technically illegal, and haven't bothered to check up on it since. Take Muse's advice, not mine.
 

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