Please forgive me, any of you good folk out there in Theatreland who have been following events in Malcaster. You may recall that Jonah the theatre-owl temporarily moved away from his nesting place in the ivy under the eaves of the Granary Theatre because of Gwyneth’s campaign to have him banished to a bird sanctuary. As a result, he has been unable to use the theatre’s computer and I’m damned if I’ll let him tamper with mine. Therefore, this is his friend, Oscar, breaking a vow of silence.
It’s a tinge of sadness that drives me back into print. I’m at that stage in life when one observes the passing of so many revered customs, all sacrificed on the altar of political correctness. Indeed, being a very married, heterosexual, white, overweight smoker, I belong to so many repressed majorities. As an exponent of Practical Theatre who, as a result of having earned a certain notoriety in pursuit of an itinerant lifestyle, I remain in honorary membership of a number of theatre groups who are kind enough to send me their newsletters so that I can keep in touch with their progress. This affords me a warm feeling of continued involvement with groups I have directed in the past.
Unfortunately, when I see evidence of retrogress, it invokes feelings of isolation and impotence. It was in one of these newsletters recently that a Chairman (whom I knew in his theatrical beginnings) sought to make a point about the need for communication between his various officers. He used the example of an actor who changes a cue-line without informing anyone and thereby causes confusion to the lighting technician who is late with a blackout.
It triggered a memory of my own, of when – I’m ashamed to admit – I committed the same sin while appearing as the wicked uncle, Abanazar, in panto, (The manic cackle of my laugh in evil glee was enough to chill your bones.). It was the scene when Aladdin and I are trying to open the door of the cave. I do this eventually by invoking the power of a proprietary brand of laxative, which I assure the ‘lad’ could be relied on to open anything: “BILE BEANS!”. This did not achieve from the Audience the cachinnational outburst that I had expected, so I changed the brand to something better known at that time: “EX-LAX!!” To my surprise, nothing moved, but it got a laugh, so felt justified until the Stage Manager grabbed me as I made my exit and stated his opinion. Apparently the entire stage-crew had remained constipated, transfixed for some seconds more than was required for the dramatic impact of the cave rumbling open. The effect had involved the orchestra, Sound, Lights and several Stage Hands.
Having begun my acting career in a highly disciplined company and later studied Stage Management as part of my theatre training, I had no excuse. Duly chastened and truly contrite, I apologised to all concerned. The event made its mark on me and I have been a stickler for efficient Stage Management ever since. In my book about directing, ‘Playmaker’, I emphasise the importance of stage management and urge directors to appoint the Stage Manager very early in the production process. I urge my readers to work very closely with the Stage Manager throughout the production right through to the After-Show Party, when – if the material was right and the job has been done properly – there will be something to celebrate. Of paramount importance, I stress the compilation of a Prompt Copy, in the SM’s sole control, that can be depended on as the ‘bible’ of the production. In this context, I think it’s worth mentioning that all of my best Stage Managers have been women, whom I have found infinitely more reliable than men, with never a hint of detail neglected and their minds on the job at all times.
Then again, it was a male Stage Manager who gave me another of my most salutary lessons. We were in the last technical run of a major production in largish Dutch theatre (about 600 seats, all booked solid). He was an American whom I had appointed to his very first job as SM and had carefully taught him how to carry out the duties. Unfortunately, we were subject to the whims of the resident Dutch stage-crew who were as obdurate as only they knew how; they pretended to not understand English. I kept my place in the auditorium until I could no longer tolerate the agonies that my actors were experiencing as they waited; I got up and walked round to the Prompt Side, where I offered to stand on the stage to act as intermediary and interpreter. My SM turned to me with grim dignity and drawled, “What I’d like you to do, Arscar, is to get arf my gaddamned stage”, an instruction with which I complied instantly. I crept back to my proper place glowing with pride for the success of my tutelage. Later, the SM came to me and apologised for his tone. I assured him that he had made me proud and confident in his ability to steer the show through to success.
The Chairman I referred to earlier bothered me with his assumption that Lights would be solely responsible for observing their cue. No mention was made of the failsafe device of Standby and Go being given by the Stage Manager in absolute compliance with the Prompt Copy. And yes, the Prompt Copy is also used for providing actors’ prompts when they are needed. The SM knows the play and its pauses that well.
Perhaps I should add here that the person who formalised my own tuition in Stage Management was a true master of Theatre, possessed of a quiet competence and humorous authority, a gem of a man who taught his trade at RADA. I can think of no better grounding and always thank God for letting me near Peter Woodhead.
It therefore worries me when I see evidence of a current trend toward sloppy stage management. Apparently, it is unfashionable for any one person to exercise final authority over the production, everybody is entitled to their own self-expression.
Oddly enough, I notice that some directors today are so keen on demonstrating their addiction to democracy that they not only fail to implement their own vision for the production, they also fail to listen to the ideas of others. Personally, I love to incorporate all everyone’s good ideas and then take full credit for the ones that work best. What it all comes down to is that actors must feel free to perform in absolute confidence that staging will happen as they expect it to, in other words as rehearsed and recorded in the Prompt Copy in the SM’s own fair hand.
These days, I still do a little work in association with university theatre and have become accustomed to inexperienced directors talking about appointing a ‘Producer’ as a priority, rather than their essential ally and helpmate, the SM. So let’s understand the terminology: the Director is in overall control of the production, working within the budgetary confines imposed by the Producer. The Producer (if there is one) provides the finance and facilities required to fulfil the Director’s vision for the material being staged. (Therefore, one can say that the management or the amateur theatre society is the Producer.) The Director retains creative control, but delegates all practical aspects to the Stage Manager. The SM works in close co-operation with House Manager, Sound, Lights, Props, Wardrobe and stage crew (including the set-constructors) to fulfil the Director’s vision ... DIRECTOR = CREATIVE, SM = PRACTICAL, PRODUCER = MONEY.
A designer will work through the Director to the Stage Manager, who will analyse the ideas in terms of economy and practicality, then make suggestions.
In my experience, there exists infinitely more opportunity to explore and experiment in a clearly understood and well-disciplined structure than in a sloppy outfit that only pretends to accord full self-expression to everybody. Of course, it follows that the smart director has learned how to listen to other people’s voices and to watch their behaviour in order to have advantage of all their best ideas.
Very early on ... before any auditions have taken place, when he is studying the structure, texture and flavour of the play and formulating in draft its possible production, the smart Director will come to terms with his Stage Manager. The earlier their relationship begins, the better for the production. Since they know where and when performances are due to take place, they can agree the entire Production Schedule. The key Books-Down Point can be established, together with dates for development and completion of all design and construction, including publicity. A purpose for each session can be provisionally decided in order that a call-sheet can be published for each. (Later, of course, this may be amended according to personnel availability.) It will be clearly understood that backstage discipline will fall under the SM’s aegis, as will the responsibility for removing non-essential onlookers from rehearsals. It follows that, with duties clearly designated and delegated, actors will arrive into a strange framework, ready to begin work on character-development.
Does all this sound dull and authoritarian? Good. Fun lies in achievement and satisfaction lies in an Audience that has received more than its money’s worth.
Actors should never feel a need to worry about whether things will happen. Every aspect of the production should be in the care of a competent individual who will not rest until each objective is achieved on schedule.
The astutely-chosen Stage Manager will know how to secure the co-operation of all parties to the production in all departments, even prima donna Lights and Sound Technicians who believe they are a law unto themselves, so essential and irreplaceable that nobody will dare to integrate their work into the team effort. Every element of the staging team must remain under the control of the Stage Manager, leaving the Director free to work with the creative team to the absolute limits of its creative talent
And just in case the Director gets above him/herself, he/she had better remember that the team can do the show without him/her, but he/she cannot put the play on without them, each respecting all others contributing to the team-effort. Within all this, the Director’s job is very simple indeed – it is to create an atmosphere in which actors can work. And that is the whole point of submitting oneself to the tried and trusted methods of Stage Management – to allow the entire team to get on with its job of pleasing the Audience ... (and it don’t half stop squabbling along the route).
Jonah was a very experience director, teacher and writer who sadly passed away in February 2006. He was also the author of the highly successful "Playmaker - The Craft of Directing Plays (The Way I Seen It)".