Stage Management Fundamentals: Communication, Paperwork, and Calls

What Stage Management Does (and Why It Matters)

Stage management (SM) is the production’s organization and safety system. The stage manager and assistants keep information moving to the right people, keep rehearsals and performances running on time, and track decisions so the show stays consistent. If something changes—an entrance, a prop, a costume quick-change, a safety issue—stage management makes sure it is documented, communicated, and followed up.

Think of stage management as three jobs happening at once:

• Communication hub: collects questions and updates, then distributes accurate information.
• Paperwork and tracking: records what the production decided and what still needs action.
• Calling and control: during performances, gives standardized cues and holds when needed.

Core Paperwork Beginners Will See (and How to Use It)

1) Contact Sheet

Purpose: one reliable place for names, roles, and how to reach everyone.

What it includes: cast/crew names, roles, phone/email, emergency contact, allergies/medical notes if your production collects them (only if permitted and handled privately).

Beginner use: save it to your phone, but don’t share it outside the production. If your number changes, tell SM immediately.

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2) Rehearsal Schedule

Purpose: tells you when and where you are needed.

Beginner use (step-by-step):

• Check the schedule as soon as it is posted.
• Confirm your call time (often earlier than “start time”).
• Note location, what you’re rehearsing, and any special needs (dance shoes, rehearsal props).
• If there is a conflict, report it to SM as soon as you know—do not wait until the day of.

3) Sign-In Sheet

Purpose: attendance and safety accountability (SM needs to know who is in the building).

Beginner use: sign in immediately when you arrive, using the format requested (time in, initials, etc.). Never sign in for someone else.

4) Rehearsal Report

Purpose: a daily written record of what happened and what needs follow-up.

Typical sections: attendance, schedule updates, notes for departments (scenery, props, costumes, lights, sound), and safety issues.

Beginner use: read the report if it’s shared with you. If you were assigned an action (e.g., “Actor to bring alternate shoes”), do it and confirm with SM.

5) Daily Call / Daily Calls

Purpose: the day’s “what, when, where” message—often sent by email or posted on a callboard.

What it may include: call times, rehearsal/performance location, planned work (e.g., “Act II spacing”), reminders (e.g., “bring water bottle”), and any changes.

Beginner use: treat the daily call as the most current instruction. If it conflicts with an older schedule, ask SM which is correct.

6) Props List

Purpose: tracks every prop and who uses it.

Common columns: prop name, scene/page, who uses it, where it starts (“preset”), where it ends (“postset”), special notes (breakaway, food, liquids).

Beginner use: if you handle props, learn your preset/postset responsibilities. Report missing or damaged props immediately and factually.

7) Costume Plot

Purpose: maps costumes by scene, including quick-changes and special pieces.

Beginner use: know what you wear in each scene and where quick-change happens. If something doesn’t fit or restricts movement, tell SM and wardrobe early (not at places).

8) Scene Change List (Shift Plot)

Purpose: a step-by-step list of what moves between scenes and who moves it.

Beginner use: if you are assigned a shift, learn it like choreography: what you move, when you move, where it lands, and how you clear safely.

Scene Change: 1 to 2 (Blackout)  1) Crew A: Strike chair DSL to SR wing  2) Crew B: Roll table from SL wing to center  3) Crew A: Set rug marks to spike tape  4) Props: Preset mug on counter

9) The Prompt Book

Purpose: the stage manager’s master book for running the show. It contains the script plus all cues, notes, and running paperwork.

What’s inside (typical): script pages, cue placements (lights/sound), scene shift notes, warnings/standbys/go, contact info, emergency procedures, and performance reports.

Beginner use: you usually don’t handle the prompt book unless asked. If you’re given a note that “it’s in the book,” it means it’s an official, tracked instruction—follow it exactly.

Communication Flow in the Rehearsal Room

Who Speaks When (a Practical Map)

Rehearsals move faster and stay calmer when communication follows a predictable flow. A common beginner-friendly rule is: ask the right person at the right time.

• During active work (a scene is running): keep quiet unless it’s a safety issue. Save questions.
• Between runs or when the room pauses: questions go to SM first unless you are told otherwise.
• Notes sessions: listen, write, and clarify only if you don’t understand the instruction.

Safety exception: if someone is at risk (trip hazard, falling piece, injury), speak up immediately using a clear alert (often “Hold!”) and then let SM take over.

How Notes Are Delivered

Notes are instructions or reminders that help the show stay consistent and safe. Stage management helps deliver notes in a way that is clear and trackable.

• Verbal notes: given in the room, often after a run. Write them down.
• Written notes: sent via rehearsal report or message for clarity and record-keeping.
• Department notes: SM routes issues to the correct team (props, costumes, sound, etc.) and tracks whether they are resolved.

Beginner tip: if you receive a note, respond with confirmation and action, not debate. If you think it’s unsafe or impossible, state the problem factually and offer options.

Logging Problems and Getting Them Resolved

Stage management treats problems like tasks: identify, assign, track, confirm.

Step-by-step: how to report an issue so it gets fixed

• 1) Identify: what is wrong, where, and when it happened.
• 2) Impact: what it affects (timing, safety, visibility, ability to perform).
• 3) Evidence: what you observed (avoid assumptions).
• 4) Urgency: is it dangerous now, or can it wait until break?
• 5) Follow-up: ask how you’ll know it’s resolved (e.g., “Should I check back after break?”).

Example report to SM:

• “In Scene 2, the rug at center is sliding when I pivot. I nearly slipped on the second run. It seems to move toward downstage. Can we tape it or add non-slip before we run again?”

Standard Calls and How to Respond

Calls are short, standardized phrases used to coordinate people quickly. Your job is to respond consistently and without adding extra chatter.

“Places”

What it means: go to your starting position for the upcoming scene or the top of the show.

What you do:

• Stop non-essential conversation.
• Use the restroom only if you can return immediately; otherwise tell SM.
• Get required props/costume pieces.
• Go to your entrance area or preset position quietly and safely.
• Be ready to start—no last-minute searching.

“Beginners”

What it means: the show (or act) is about to begin; final readiness check.

What you do:

• Be in place, silent, focused.
• Confirm you have what you need (props, mic pack if used, costume pieces).
• If something is wrong, report it immediately and clearly (e.g., “Missing prop: letter for Scene 1”).

“Hold”

What it means: stop the action. This can be for safety, technical issues, or a reset.

What you do (step-by-step):

• Freeze safely: stop movement without creating a new hazard.
• Stay quiet: listen for instructions from SM.
• Maintain positions: don’t wander unless told.
• Protect the moment: keep props/costumes in place so the scene can resume accurately.
• Resume only on instruction: SM will say when and where to pick up (e.g., “Pick up from Casey’s line” or “Back to top of the scene”).

If you are the one who needs the hold: say “Hold” loudly and clearly, then state the reason in one sentence: “Hold—chair leg is broken downstage left.”

Etiquette for Sharing Information with Stage Management

Stage management can only help if they receive information that is clear, timely, and factual.

Clear

• Use specific locations: “upstage right,” “by the door flat,” “on the second step.”
• Use specific timing: “during the blackout after Scene 3,” not “around the middle.”
• State what you need: “I need a replacement,” “I need 2 minutes to re-tape shoes,” “I need a safer path.”

Timely

• Report issues as soon as you notice them, especially if they affect safety or the next run.
• Don’t wait until the last minute before places to mention missing items or costume problems.

Factual (Not Blame-Focused)

• Describe what happened, not who you think caused it.
• Avoid loaded language (“always,” “never,” “they don’t care”).
• If you’re unsure, say so: “I’m not sure, but it looked like the spike mark moved.”

Useful vs. unhelpful example:

• Useful: “My mic cut out twice in Scene 4 when I turned upstage. It came back when I faced downstage.”
• Unhelpful: “Sound is messing up my mic again.”

Reporting Injuries and Hazards

Safety reporting should be immediate, calm, and specific. Stage management will coordinate the response, document what happened, and help prevent repeat incidents.

If Someone Is Injured (including you)

Step-by-step:

• 1) Stop the action: call “Hold” if needed.
• 2) Get SM’s attention: “Hold—injury downstage center.”
• 3) Do not move the injured person if there is any chance of serious injury (head/neck/back) unless there is immediate danger.
• 4) Follow the production’s procedure: SM may call first aid, bring an ice pack, contact the designated safety person, or call emergency services.
• 5) Provide facts for documentation: what happened, where, what you felt/observed, and what was done next.

How to Report a Hazard (Trip, Slip, Sharp Edge, Electrical, etc.)

Step-by-step:

• 1) Identify the hazard: “loose cable,” “wet spot,” “unstable platform.”
• 2) Mark or guard it if safe: stand near it to warn others, or place a visible marker if you’re instructed to do so.
• 3) Tell SM immediately: include location and urgency.
• 4) Don’t assume it’s handled: confirm when it’s fixed or when an alternate plan is in place.

Example hazard report: “There’s a loose cable crossing the upstage right entrance. It caught my shoe during the last transition. Can we tape it down before the next run?”