In the evolving world of theater there is one constant rule: respect the stage manager.
It isn’t just because he or she is in charge of rehearsal schedules, budgeting, and making sure the entire production runs smoothly. Stage managers possess the vital power of communication.
Columbia University professor and production stage manager Peter Lawrence spent part of his (union regulated) lunch break from rehearsal of “Ragtime” on Broadway speaking in an interview about some of the most elusive roles in the theater industry,
“It’s mostly about communication,” said Lawrence. “You have to be a good psychologist—figure out what all different types of people want.”
This may seem easy, but to anyone who knows how many different facets of production are involved in a show, it can be ridiculous to imagine that only one person bridges all of these separate entities together.
There are the actors and the director, but the list doesn’t end there: costume design, scenic lighting design, sound design, and many times orchestra and choreography as well. Just take a preliminary glance at the list of Tony awards to get an idea—it will overwhelm you.
Stage managers need to assemble all of the puzzle pieces so that the show “can flow.” A recent task Lawrence solved was the case of quick changes: where would the actors quick change costumes during performances? This involved communication between actors, the scenic designer, and the stage-hands. The stage manager mediates it all.
Of course, this sort of job takes a lot of time and effort. “In theater the schedule is so demanding,” admits Lawrence. “You have to give yourself over.”
In a typical day during the theater rehearsal process, Lawrence attends rehearsal from 10 a.m. to 6 p.m. with a one-hour lunch break. However, for Lawrence, there is an additional hour during which he can complete rehearsal reports and solve any problems that arise during the day.
This is the easy part of the process. During technical rehearsals and previews, which are the performances that occur before the show officially opens, call is from 9 a.m. to midnight, and that transitions to 1 p.m. to midnight for all successive performances.
“Between the salaries of the actors, space rentals, and other fees, we are spending thirty-five to forty thousand dollars a day to rehearse,” Lawrence said. “I must be good at organizing time. A lot of guesswork is involved. It’s very creative.”
In fact, the job requires a lot more creativity than an average theatergoer might guess. “After a show opens, most of the time the notes [correction notes] are given by me [the stage manager],” explained Lawrence. Since the stage manager is there to call the cues for every performance, he is able to keep the show in check, whereas the director often gives up the reins after opening night.
A stage manager also has to think on his feet. Lawrence recalls a production of “Sunset Boulevard” that he managed, starring Glenn Close. It was so technically complicated he often questioned whether or not to pause a show mid-run. But, “as a production stage manager, it is your job to make sure the show goes on.”
Despite the stress, the long hours, and the occasional diva (he mentioned one unnamed actress who sent him to get her Popeye’s fried chicken), Lawrence knows his job is great. And he has no difficulty whatsoever in communicating that.
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