How Do Stage Managers Call the Show? (Part 1) | The (Almost) Complete Guide to Stage Management #19

Summary

In this episode of 'Half Hour Call,' Kent dives into the essential theory behind calling a show, a critical responsibility of stage managers. The video explains the anatomy of a cue, emphasizing flexibility, prioritization, and the importance of the 'go' signal. Kent breaks down cue components like departments, identifiers, and timing, offering practical advice on when to use warnings, standbys, and cues. The video also discusses the role of cue lights, especially in dangerous scenarios, and touches on collaboration with assistant stage managers. The episode provides valuable insights into effective and safe cue calling for successful performances.

Takeaways

• 😀 Takeaway 1: Calling a show is the stage manager's most direct connection to the performance, orchestrating all technical elements like lights, sound, scene changes, and actor entrances.
• 😀 Takeaway 2: A stage manager's calling system must prioritize flexibility and prioritization to ensure cues are executed effectively during the show.
• 😀 Takeaway 3: A cue consists of three parts: the department, the cue identifier (number or letter), and the 'go' — the most important part, signaling the execution of the action.
• 😀 Takeaway 4: When calling cues, flexibility is key. Sometimes the 'go' is the only thing said, especially during complex or fast-paced sequences.
• 😀 Takeaway 5: The department part of a cue (e.g., lights, sound, deck) tells the technician who should respond, and it’s vital for clarity in communication.
• 😀 Takeaway 6: Cue identifiers (numbers or letters) can be tricky, but it's essential to follow the designer's system rather than trying to reorder or rename cues unnecessarily.
• 😀 Takeaway 7: Warnings, standbys, and goes should be used flexibly and are not always necessary for all cues. For lights and sound, just the cue and go might suffice.
• 😀 Takeaway 8: Standbys are primarily used for complex sequences where multiple cues are called simultaneously, such as a light and sound cue for a lightning strike.
• 😀 Takeaway 9: Cue lights are used in some theaters to non-verbally call cues, and their priority should go to departments that cannot hear the stage manager's headset, like the conductor or actors.
• 😀 Takeaway 10: Safety is a priority when calling cues, with certain departments (like fly rail or pyrotechnics) requiring extra attention to ensure actions happen at the right time.

Q & A

What is the role of a stage manager when calling a show?

The stage manager calls the cues for every performance, meaning they signal for everything on stage to happen, including lights, sound, actor entrances, scene changes, and special effects. Their job is to ensure everything runs smoothly, like a conductor guiding an orchestra.

Why is flexibility important in calling a show?

Flexibility is crucial because different shows, sequences, and circumstances might require adjustments. A rigid calling system can lead to confusion, missed cues, or ineffective communication. Flexibility allows the stage manager to adapt to the performance's pace and the technical requirements.

What is the primary purpose of the 'go' in a cue?

The 'go' is the most important part of a cue. It serves as the signal for the action to happen, whether it's lights, sound, or scene changes. The 'go' can be verbal, a cue light, or an automated signal, depending on the show.

How do stage managers prioritize different parts of a cue?

Stage managers prioritize the 'go' first, as it's the signal to execute the action. Next is the department (e.g., lights, sound, deck), which tells technicians who should respond. The least important part is the cue identifier (number or letter), as it can be automated and is less critical in a fast-paced sequence.

What is the significance of the cue identifier?

The cue identifier is a letter or number that signifies which cue the stage manager is calling. It is important for technicians to know which cue is next, but in fast sequences, it is often less prioritized, as many departments are automated, and the identifier rarely causes confusion.

Why might a stage manager skip giving a full cue during a fast sequence?

During fast sequences, a stage manager might skip part of the cue (e.g., the department or the identifier) to maintain speed and clarity. For example, they might say 'go' for several cues in rapid succession, prioritizing the action over detailed phrasing.

What is the difference between a warning, a standby, and a go in cue calling?

A warning gives technicians time to prepare for an upcoming cue, often used for complex cues like deck or rail. A standby is a signal to be ready to execute a cue, typically given 15-30 seconds before the go. The go is the final signal to execute the action, usually given just a beat before the cue needs to happen.

How are cue lights used in calling a show?

Cue lights are colored lights controlled by the stage manager to non-verbally communicate cues. They are used to signal warnings or standbys to technicians who may not be on headset. For example, cue lights might be used for things that can't be queued verbally, like sound or actor entrances.

When would a stage manager use multiple cue lights for different departments?

Multiple cue lights are used when several departments, like rail, deck, or sound, need to be on standby simultaneously. This allows the stage manager to give multiple cues without turning the same light on and off repeatedly, ensuring clarity and avoiding confusion.

What role do Assistant Stage Managers (ASMs) play in calling a show?

ASMs play a key role in supporting the stage manager, especially by providing additional visibility or confirming when it's safe to execute certain cues. For instance, they might call 'clear' over the headset when actors exit the stage, helping the stage manager to call a cue safely.