All winning Area Plays should have a Stage Manager that calls the show at the State Festival. Each Stage Manager can enter this tech project category at the state level. Students prepare a Prompt Book and are judged on criteria below.
1. The students are to prepare a Prompt Book for their production. This Prompt Book should have the play’s script with ALL cues for lights, sound, follow spots,curtains, actor’s entrances, props, scene shiftsand any other cues that are necessary. Each cue should be marked specifically in the script.
2. When marking cues in the script, markings should be placed uniformly in the margins and the specific word on which the “GO” needs to happen should be marked.
3. When cues are called, they are to be numbered (i.e. - “Cue 12 - Go” not “take the lights down.”) The cues must also be specific as to whether it is a sound cue, light cue, spot cue, or scenery (i.e. flying) cue. Keeping in mind the following specifications:
a. Sound Cuesshould be indicated by letter. For example: SQ A, SQ B, etc. If in the event that there are more than 26 sound cues then the alphabet should be repeated with double letters, i.e. SQ AA, SQ BB etc.
b. Lighting Cuesshould be indicated by number. For example: LQ 1, LQ 2, LQ 3, etc, etc.
c. Followspot Cuesshould be indicated by number, but with the differentiation of the word “spot” before the cue. (i.e. Spot Q 3). When calling follow spot cues it is also necessary to indicate on who or what the spotlight will be focused. (i.e. Spot 2 on Father – GO) In the event that there are multiple spotlights in use, each spot is indicated by number. Spot 1, Spot 2, Spot 3, etc, etc.
4. All cues will have a “standby” approximately 5-6 LINES BEFORE THEIR OCCURRENCE. When the cue is called it is to “go.” Warns are often confusing and redundant in a cue heavy show. The only time Warns should be indicated is if there is a long lapse (several minutes) between cues and it is necessary to wake the crew up from their naps. STANDBY and GO calls should indicate as to whom is getting the call (i.e “Standby Lights 26, Sound D.”) GO’s should be called by indicating the cue and then GO (i.e. Lights 26: GO) (Lights 26, Sound D: GO)
5. After standbys are given, the crew should always respond with a “Standing Lights” (or Sound/Crew/etc).
6. Cues need to be color-coded. A different color will be used for each “STANDBY” and “GO.” “Standbys” are to be colored yellow; “GOs” are to be colored green.
7. If the student’s production crew does not have a sound or lighting operator, then the following materials must be provided to the Host Stage Manager at the beginning of the State Festival:
a. A well-marked lighting cue sheet that includes all lines/cue numbers/page numbers for all STANDBYs and GOs. If the mark is called on a visual cue, then a description of the action needs to be included. (i.e. standby Q 5 when Father sits on his chair or GO on Girl’s entrance from USL)
b. A single CD with all the sound cues and a sound cue sheet that includes all lines/cues/page numbers for standbys and GOs. The Cue Sheet for sound cues should indicate: when the sound comes on, the Volume at which the sound should be, the count for coming on (i.e. BUMP, 2 second fade, Fade up with lights, etc), the duration of the cue (5 seconds, 15 seconds, 9 seconds, etc.), and the out (on a bump, play out on CD, fade 3 seconds, slow fade, fade with lights, etc)
c. Copies of all cue sheets have to be given to the Host Sound & Lighting Operators.
8. All blocking must be written in standard notation in the Prompt Book Script with explanatory comments on the opposite page as necessary.
9. A scale floor plan must be provided at 1/4” scale so that it fits on a normal sheet of typing paper.
10. All props will be listed and charted (i.e. where they begin and end). Use copies of the floor plan to create a props map(s).
11. The Stage Manager will have an organized plan for loading in sets, props, costumes and actors into the backstage or set up area and for removing the same. The Stage Manager must also have a plan to set up the play on the stage during the set up time.
12. The Stage Manager must make sure that all technical concerns for the show are taken care of during the set up time and should be in absolute control over the crew at all times.
13. The Stage Manager and crew should be appropriately attired for backstage work. Appropriate attire includes close-toed work shoes appropriate for moving scenery.
14. Before the performance begins, the Stage Manager should complete a headset check, verifying that the crewmembers are all on headset and that everyone can be heard.
15. While calling cues, the Stage Manager needs to be confident and easily heard on headset (demonstrates good “head set voice and presence).
16. At the designated time for each play, there will be a meeting where the play’s Stage Manager will solidify the procedures for the show with the Host Stage Manager.
