GUIDE TO OPERA STAGE MANAGEMENT FOR THE ASPIRING THEATRICAL STAGE MANAGER

A Thesis Presented to The Graduate Faculty of The University of Akron

In Partial Fulfillment Of the Requirements for the Degree Master of Arts

Lee Marc Molnar May, 2015

GUIDE TO OPERA STAGE MANAGEMENT FOR THE ASPIRING THEATRICAL STAGE MANAGER

Lee Marc Molnar Thesis

Approved:

Accepted:

___________________________ Advisor Ms.Kara Stewart

___________________________ Interim School Director Mr. Neil Sapienza

___________________________ Committee Member Mr. Durand Pope

___________________________ Dean of The College Dr. Chand Midha

___________________________ Committee Member Mr. Jonathon Field

___________________________ Interim Dean of The Graduate School Dr. Rex D. Ramsier ___________________________ Date

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DEDICATION The writer dedicates this work to Natalie Simonis, who has supported and encouraged the writer these past few years to undertake and complete this degree.

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ACKNOWLEDGEMENTS The writer would like to thank Kara Stewart for being so supportive and a good sounding board during my degree process. The writer would like to thank Jonathon Field and Randy Pope, thesis committee, for their support and feedback. The writer would like to also thank Brett Finley for contributing her thoughts to this thesis, as well as the many mentors and colleagues over the years, who have inspired me to write this work.

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TABLE OF CONTENTS Page LIST OF FIGURES……………………………………………………………………...vii CHAPTER I. INTRODUCTION ………………………………………………………..…….….…...1 II. DEFINITIONS OF KEY PERSONNEL………………………………………….........4 Key Personnel .......………………………………………………………………..4 Opera Stage Manager………………………………………………….......5 Stage Director………………………………………………….……….....6 Maestro……………………………………………………………………7 Production Manager……………………………………………………….7 Assistant Stage Manager………………………………………………......8 Assistant Director………………………………………………………….9 Chorus Master…………………………………………………………....10 Rehearsal Accompanist…………………………………………………..10 Principals…..………………………………………………………….….11 Chorus……………………………………………………………….…...13 Supernumeraries…………………………………………………….…...13 III. PRE-PRODUCTION PERIOD………………………………………………………14 Approaching the Score…………………………………………………………...14 Musical Recording……………………………………………………………….18 Score Set Up……………………………………………………………………..19 v

Understanding Opera Libretto…………………………………………………...20 IV. REHEARSAL………………………………………………………………………..25 Prep Week and Paperwork……………………………………………………….25 Rehearsal Room Set Up………………….......…………………………..………30 First Rehearsals. …..……………………………………………………………..32 Rehearsal Hours………………………………………………………….33 Rehearsal Process………………………………………………………...36 V. TECH WEEK…………………………………………………………………………42 Moving to the Stage……………………………………………………………...42 Tech Week Schedule…………………………………………………………….48 VI. PERFORMANCE……………………………………………………………………55 Pre-Curtain……………………………………………………………………….55 Calling the Performance…………………………………………………………58 Bows……………………………………………………………………………..61 Post Production…………………………………………………………………..62 VII. CONCLUSION……………………………………………………………………..64 BIBLIOGRAPHY……………………………………………………………………….66 APPENDICES…………………………………………………………………………...68 APPENDIX A: SCORE PUBLISHING HOUSE ……….………..……………69 APPENDIX B: GLOSSARY TERMS……………………..……………………71 APPENDIX C: STAGE MANAGEMENT PAPERWORK…………………….76 APPENDIX D: INSTITUTIONAL REVIEW BOARD LETTER……….…….112

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LIST OF FIGURES Figure

Page

1.

Fidelio piano vocal score page………………………………..…………………15

2.

Fidelio orchestral score page…………………………………………………….16

3.

La Bohème vocal score page……………………………………………………..18

4.

La Bohème libretto example, Castel Series………………………………………22

5.

La Bohème vocal score page……………………………………………………..22

6.

Fidelio synopsis De Capo Manual……………………………………………….23

7.

Tosca Who What Where snippet………………………………………………...27

8.

Tosca vocal score page…………………………………………………………..28

9.

Madama Butterfly score conversion chart……………………………………….29

10.

Stage Management console diagram…………………………………………….48

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Le Nozze di Figaro vocal score page…………………………………………….53

12.

Top of Show Calling Checklist…………………………………………………..58

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Intermission Calling/Checklist…………………………………………………...60

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CHAPTER I

INTRODUCTION

“Opera stage managing is just stage managing while listening to music, what’s the big deal?” Many Opera Stage Managers would laugh or cringe, as I did, when I heard that statement come from a theatrical stage management undergraduate student at a major university some years ago. As in all disciplines of stage managing be it theatrical, opera, dance, orchestral, or musical theatre, there are core structures and skill sets that are required of anyone wishing to be a stage manager. After being in the opera world for many years and discussing with my colleagues the apparent lack of appreciation and understanding of the art form from the assistant stage managers fresh out university, I feel it is time to start a study into the world of opera stage managing and delve into how and why it differs from “legitimate theatre.” Legitimate theatre is a term used to describe non-musical plays. The original definition came from the licensing act of 1737 in England which allowed only plays sanctioned by the Lord Chamberlain to be presented. This was an attempt of censorship in the theatres of England and many theatres were forced to close as they were not considered “legitimate” under the licensing act. Satire and musical comedy were not considered legitimate in the eyes of the Lord Chamberlain. (Crean, 239-255) 1

The need for this thesis grew out of the fact that there are few specific research books on stage managing opera. Lawrence Stern states in his book, Stage Management: If you do not read music, tell your director and don’t attempt to fake it. With the director’s help you can sometimes get around your deficiency by using a stopwatch. Rather than listening for a note, you would time how far into the music that note occurs and then take the cue from the stopwatch. If there is a fast series of cues from subsequent notes, you would substitute mental counts for listening to notes. Sometimes you can look for concurrent cast movements rather than notes from which to take your cues. These are all cumbersome methods, and learning to read music is preferable-and usually a prerequisite for stage management jobs in opera and ballet (Stern 216).

I mention this quote not to diminish the quality work that Lawrence Stern has written, in fact it was the first book on stage management that I read in high school and knew after reading it that this is what I wanted to do for a career. Certainly, Stern is correct in identifying music reading as an important skill to calling an opera, however, there is much more to understanding opera production that just calling cues effectively. This analysis offers the aspiring theatrical stage manager a guide to understanding the world of opera from the point of view of the stage manager. This thesis does not explain each step of stage managing an opera production; it highlights differences and nuances of how opera production is constructed from the perspective of the stage manager. As Brett Finley, longtime opera stage manager and colleague, related to me about working with new college-aged assistants: “what they found most challenging to figure out is how to manage all the minutia [an opera] stage manager needs to have in their head at one time” (Findley interview). The research for this thesis was conducted by combing through existing books on stage management, holding discussions with colleagues, and by examining my own 2

experiences of twenty years in the opera world. This work is limited to the study of the differences and nuances of running an opera production for a student with theatrical stage management experience. It is not designed to teach stage management but to point out the special skills and traits needed to work as an Opera Stage Manager. Gerald Freedman, Great Lakes Theatre Festival Director, says of stage managing: Timing is everything. I need musically sensitive stage managers. It helps if they read music and are musical (not one who plays an instrument, but who can feel the music). Stage Managers have caused disasters when they called the show in an erratic, non-musical way (Schneider, 31).

Though Mr. Freedman was discussing legitimate theatrical stage managers, his sentence about ‘feeling the music’ is a key tenet to being a good opera stage manager. It is more than notes on a page and counting rhythms, it is immersing oneself in the music and the way the stage director and maestro shape the piece. This assumption will start by explaining the key personnel with whom the Opera Stage Manager works with on a daily basis and will then detail the production process from pre-production work through postproduction.

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CHAPTER II

DEFINITIONS OF KEY PERSONNEL

As Lawrence Stern explained: There is no definitive list of duties of a stage manager that can apply to all theaters and staging environments. A stage manager for a comedy performed in a theater in the round might carry out specific duties that are totally different from those of a stage manager for a traveling pantomime troupe. But the function is the same (Stern, 4). Opera is no exemption to this rule. Maestro Lyall of New Orleans Opera often remarked to his stage managers “Opera has a lot of moving parts, it’s your job to keep them greased and running.” In his book, Stern lists eight characteristics of good stage managers: “assume responsibility, keep their cool, keep their mouths shut and ears open, think ahead, have a sense of humor, are considerate, are organized and efficient, and finally punctual and dependable (Stern, Chapter 2). These traits are what an Opera Stage Manager needs as well. In the following chapters these traits will be explored as we look at how the Opera Stage Manager functions in the rehearsal and production process. Key Personnel This chapter defines key personnel the opera stage manager deals with in every production.

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Opera Stage Manager As in the legitimate theater, an opera stage manager may work for either union or non-union companies. The union for opera performers, chorus members, ballet dancers, stage directors, and stage management personnel is the American Guild of Musical Artists (AGMA). Similar to an Equity contract the rules for duties, hours, overtime and working conditions are clearly defined in an AGMA agreement. A major difference between the unions is that an AGMA member is allowed to work with non-union companies without the need for a special artist contract. For this reason many rules at a non-union company are similar to an AGMA company, as the Artists (singers) have an expectation of what their day will entail. A definition of an AGMA Opera Stage Manager generally follows contract verbiage such as this example from agreement with the San Francisco Opera: A STAGE MANAGER (SM) is an ARTIST engaged to fulfill duties which include, but are not limited to, the following: serve as the PRODUCTION STAFF communication liaison between the DIRECTOR and ASSISTANT DIRECTOR (AD) and management and technical departments regarding schedules and logistics involving staging, technical and musical rehearsals; prepare the STAGE MANAGER's score; attend lighting sessions and document all technical cue placements; supervise scene shift rehearsals and call appropriate breaks in rehearsals; run performances; call technical cues; keep timings and write performance reports; maintain backstage operations and coordinate safety concerns during rehearsals and performances. It is very important when the stage managers sign a union contract that they have familiarized themselves with the full AGMA agreement for the company so they are aware of what is expected from everyone in the production. The stage manager is responsible for making sure that everyone’s time is used properly and effectively and that management is aware of any issues pertaining to the contract. Chapter V will explore the

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relationship and responsibility between the stage manager and other unions when working under a union contract. Specifically, the American Federation of Musicians (AFM), the International Alliance of Theatrical Stage Employees (IATSE) and the Union of Scenic Artists (USA). Stage Director The AGMA agreement for Washington National Opera defines a Stage Director as: An individual engaged to create and direct the staging for productions according to the design concept as agreed by MANAGEMENT. The Stage Director is “responsible for deciding the interpretation of each character, the movements of the singers on stage, and other things affecting the singers” (Opera America). As most opera companies plan seasons at least three to five years in advance and as many productions are rented from other companies, the Stage Directors do not always have a vote in what scenery and costumes are used or in matters of casting. The basic relationship between an Opera Stage Manager and stage director is similar to a theatrical stage manager and director: there needs to be a collaborative connection and strong communication between the two. In union opera companies the stage manager is not seen as the director’s assistant, and does not take blocking notations. That duty falls to the Assistant Director (AD). Also, while in most instances a theatrical stage manager works closely with the director in terms of scheduling, that tasks falls to the AD in opera, who along with the stage manager creates the schedules for the next day. The Opera Stage Manager is a vital link in conveying the stage director’s concepts to the production staff and keeping in mind how staging decisions affect the flow of production elements.

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In a non-union company without an AD, the stage manager will be in charge of all the blocking notation and scheduling. Maestro Maestro is the Italian word for master and the courtesy title given to the conductor of the orchestra (OperaAmerica). As the Stage Director is in charge of the artists’ movements and acting intentions onstage, the maestro determines the musical pace of the opera and the crafting of the piece as a whole. For an Opera Stage Manager, it is important to understand how the maestro communicates with the artists on stage and in the orchestra. As cues will be taken off the Maestro’s gestures, an Opera Stage Manager must understand how the maestro signals the upbeat (the preparatory movement before the downbeat), the downbeat and how he cuts off the orchestra. This is when attention to detail is important as the particular attention must be paid to these signals as a Maestro may vary indications depending on the mood and pulse of a particular performance. Maestros do not always conduct all staging rehearsals depending on their scheduling so in some instances it is not until the first rehearsal of the singers with the orchestra but without staging that the stage manager may see exactly how the maestro conducts. This important rehearsal is referred to as the “sitzprobe” (operaamerica). Production Manager The Production Manager (PM) is the direct supervisor and the person who traditionally hires the Opera Stage Manager. At larger companies, such as San Francisco Opera, Dallas Opera, Lyric Opera of Chicago, and the Metropolitan Opera, there may be a Director of Production above the Production Manager. The Production Manager is in 7

charge of overseeing all the technical aspects of the production, the rental and or build of the scenery, properties and costumes. The PM contracts all the designers and technical staff, and is the liaison from the designers and technical staff to the General Director of the company. The PM and stage manager need to be in constant contact as the stage manager is the one observing the rehearsal process and knows how the production is coming together. Assistant Stage Manager Assistant Stage Managers (ASMs) – is defined by the AGMA agreement with San Francisco Opera as follows: An ASSISTANT STAGE MANAGER (ASM) is an ARTIST engaged to assist the STAGE MANAGER and/or ASSISTANT DIRECTOR. The primary responsibilities of an ASM include, but are not limited to: compiling all pertinent backstage information, communicating this information to ARTISTS and technicians, calling ARTIST entrances and (in conjunction with the STAGE MANAGER) maintaining backstage operations and coordinating safety concerns during rehearsals and performances; generating documents and production scores needed for presenting operas in rotating repertory and for use in remounts and rentals; familiarizing themselves with the staging of an opera so as to assist with replacement casts and to create supernumerary blocking records; possessing a knowledge of opera repertoire, musical notation, technical theater, foreign languages and computer word processing. In most midsized to large companies a stage manager will have two assistants. A large company may have additional assistants, and even an intern or two. In smaller nonunion companies even two ASMs are not always a guarantee. Determining company size is based on budget tiers set by Opera America, an association of about 150 opera companies. Tier I company include, the Metropolitan Opera, San Francisco Opera, Dallas Opera, Los Angeles Opera and Houston Opera each of which has an annual budgets of over $10,000,000. The Atlanta Opera, The Glimmerglass Festival, Pittsburgh Opera are 8

representative of Tier II having annual budgets of between $3,000,000 and $10,000,000. Tier III companies such as Kentucky Opera, and Nashville Opera operate between $1,000,000 and $3,000,000. Tier IV companies operate under $3,000,000 a year (2015 Opera America annual report). The ASMs are traditionally assigned to manage a single side of the backstage while during the run of the production the stage manager is at the stage management console watching monitors and the score as he or she controls the cueing. The ASMs are responsible for everything that occurs on their sides of the stage – making sure artists are where they need to be, and solving problems if they arise. More on the duties of ASMs during rehearsal and performance will be discussed in Chapter IV. Close collaboration between the ASMs and the stage manager is essential to creating a unified structure which will put the rest of the company at ease. Assistant Director Assistant Director (AD) is defined by the AGMA agreement with San Francisco Opera as follows:

An ASSISTANT DIRECTOR (AD) is an ARTIST engaged to assist the DIRECTOR whose duties include, but are not limited to: creating a production book; attending all rehearsals and performances; acting as liaison between the DIRECTOR and STAGE MANAGER and other appropriate parties; directing staging rehearsals for cast replacements, covers and/or understudies; maintaining the artistic quality of the production and the concept of the DIRECTOR during the run of a show; running curtain calls (San Francisco). The Assistant Director (AD) is the direct assistant to the stage director and is in charge of taking blocking notations and acting as the liaison between the director and the stage manager (San Francisco). Opera assistant directors are part of the production staff 9

and technically are under the stage manager. Depending on the opera company the stage director may be able to select the person who will serve as AD. The stage management staff and AD work in collaboration to make sure all the production paperwork, defined in Chapter IV, is up to date and communication is clear. The AD is responsible for making sure that the director is accomplishing the staging schedule for each day and can be instrumental in keeping the pace of rehearsals flowing efficiently. The AD also provides another set of eyes for the director when the production moves to the stage as the stage manager is no longer sitting and watching the show from the front of the house. Opera assistant directors also provide assistance to the stage director by working with the chorus and supernumeraries with their blocking. Chorus Master The chorus master is in charge of teaching and rehearsing the chorus prior to the arrival of the maestro. These music rehearsals are normally begun prior to the staging rehearsals so that when the stage director arrives, the chorus has the music memorized and will be able to move and act during the staging rehearsals. The chorus master is not a job title defined by AGMA but a position established to meet the specific needs of the company. Rehearsal Accompanist The rehearsal accompanist is the musician who plays the piano and any other instruments that may aid in the rehearsal process. The accompanist must be able to approximate the orchestral qualities of an opera from a piano vocal score. The rehearsal accompanist needs to understand how the Maestro will shape the piece. 10

Principals It is important to understand the breakdown of performers in an opera. Singers are normally referred to as Artists or singers, or as the “talent”. In fact anyone under an AGMA contract is referred to as artist. A principal role is a lead role in an opera. AGMA, in the Schedule C of the union agreement breaks down the singing distinctions as the following:

"L" LEADING "F" FEATURE "S" SUPPORTING "B" SOLO BIT "CB" CHORUS BIT "MB" MUTE BIT have been used as guidelines throughout the classification process along with attention given to actual measures sung, time required by libretto for the characters to be on stage. Subjective questions asked as to the relative importance of the role to the plot and intangible considerations weighed as to the interpretive, vocal and artistic demands of the role. Performed by Soloist Performed by Chorister

“Leading,” “Feature,” “Supporting” and “Solo Bit.” “Chorus Bit” and “Mute Bit” (which is usually performed by a Chorister and/or a Supernumerary).

Non-Singing “Mute” Roles in the categories of “Leading,” “Feature,” “Supporting” and “Solo Bit,” have also been classified in accordance to the procedure described above using the guidelines outlined in the definitions given below. These roles are performed by an actor or a dancer. They do not require the character to sing, and with rare exception, do not require the character to speak more than one word. Leading Role: A Major, Principal Role. A primary character (or characters) in the Opera from whom all action spreads and around whom all action comes together. A protagonist or antagonist. The heroine, the hero, the villain or the victim whose pivotal position at the center of the plot is eminently vital to the development of the story. A leading role, in addition to its focal position in the plot, bears the greatest vocal and dramatic responsibility in the opera.

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Feature Role: A Distinct Outstanding Role Given Special Prominence. Not as dominant as a leading role, and not focal in its position relative to the plot. A distinguished character nevertheless, usually requiring a quality voice and/or exceptional acting ability. Dramatic presence, unique vocal range and/or pyrotechnical excellence. The role may have an important aria, duets, a complete scene or a complete act. “Feature” status may also apply to a prominent character involved in the intricate ensemble of an opera whose relationship has a complementary significance to the development of the plot, and who maintains vocal and dramatic presence throughout the opera. Supporting Role: A Secondary, Intermediate, Auxiliary Role, which sustains and strengthens the plot, while maintaining vocal and acting support throughout the action of the opera. A supporting role may have an aria or a duet, considerable amount of ensemble singing or particular acting requirements. Somewhat shorter roles which none the less fit the profile outlined above in their importance and connection to the plot are also classified as supporting. Solo Bit Role:

A Small Role. A minor role of limited size and scope in vocal and artistic demands, and of a lesser importance and intensity relative to the plot. A solo role has at least twenty-four (24) measures or more, and is usually performed by a Soloist. In some cases, the role may have less than twenty-four (24) measures and still qualify as a Solo Bit Role, because the opera has no chorus, therefore, a chorister cannot perform it, or has no chorister who sings in that voice range. A Solo Bit Role, may also be assigned to a chorister. It is the components of the role as profiled above which determine its category.

Chorus Bit Role:

A Small Role of Short Duration performed by a Chorister. In most cases a “Step-Out” role of no more than twenty-three (23) measures of music differing from that music and text sung by the rest of the chorus. A role, possibly requiring a costume change, in a scene not involving the chorus, of no more than ten (10) measures of music.

Mute Bit:

A Small, Non-Singing, Silent Part of short duration, usually performed by a chorister and/or supernumerary. A role requiring mime or acting, specified in the score by assigning the character a “name,” and/or requiring stage action which differs from that performed by another character, or the rest of the chorus. Mute Bit Parts are not listed in the Schedule “C” document unless they meet the above requirements.

(OperaAmerica) 12

This listing becomes important in terms of contract types, salary rates and program billing. Another term that is used when addressing roles is comprimario. Comprimario means “with the primary” so the supporting and featured solo roles are considered to be comprimario roles (Merriman). Chorus The minimum number for an AGMA chorus is dictated by the Schedule C of the AGMA agreement. As with any large group of people, understanding how to command the crowd is essential in a rehearsal. It is normally best to assign one of the ASMs to be responsible for the chorus, a dedicated contact that they can come to with questions and concerns. The chorus should always be able to reach out to the stage manager, but, depending on the size of the production this may not be feasible. Each chorus has its own group dynamic to consider, and whether it is an AGMA chorus or a community chorus, they need to be managed with respect. It is here when a sense of humor and an even temperament become especially important. Supernumeraries A supernumerary is a silent acting role in an opera. These include such roles as servants, a guards, footmen, waiters, in short, any role that does not involve singing. The next chapter will explore some aids to the stage manager to assist in better understanding the preparatory work that is required prior to the start of rehearsals.

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CHAPTER III

PRE-PRODUCTION PERIOD

A first step after being hired as an Opera Stage Manager is to familiarize oneself to the musical score before the start of rehearsals. The bulk of the paper and score work will be done during “prep” week (the first week you are employed at the company and before the artists arrive) however, depending on the contract, a prep week may not be included. This chapter will give the aspiring stage manager an overview of the information is needed to assist with learning the opera. Approaching the Score Thomas Kelly in his book, The Backstage Guide to Stage Management, states: “If you can count to ten, learn some basic principles of notation as simple as blocking notation, and have ever tapped your foot along with a song, then you can master the basics of calling an opera from a score” (Kelly, 180). Though this may be a bit simplistic, there is much truth in it. If the stage manager has ever had a music class or played an instrument in school they already have an understanding of how to count and read music. These basics will assist the individual when they start with the score for the first time. As with the first time with a script, the first score reading will provide valuable information about the music and the plot of the opera. Stage managers call the opera from 14

a piano vocal score as opposed to an orchestral score. A piano vocal score is a “musical score that shows voice parts in full and orchestral parts are divided into a treble staff and a bass staff as they would be if written for a single piano” (Collins English Dictionary). This score will have occasional notations provided as to what instruments are playing what notes. Figure 1 shows the first page of Act I scene 1 of Beethoven’s Fidelio for a piano vocal score (Indiana).

Figure 1. Fidelio piano vocal score page A full orchestra score has a musical score in which all the parts of composition are given; that is to say each vocal and instrumental part (strings, winds, brass,

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percussion, etc.) is on a separate staff, each main part of the orchestra per staff, meaning one staff for vocal, winds, brass, and percussion. A stage manager calling out of an orchestral score would be turning pages every few seconds as opposed to every few minutes as with a piano vocal score. Figure 2 below represents the first page of the same piece of music but in an orchestral score (Indiana).

Figure 2. Fidelio orchestral score page Though it is beneficial to be able to read an orchestral score it is not necessary to do that on a daily basis. There are two main publishers for opera scores, Ricordi Publishing and Schirmer Publishing. If performing a German piece Barenreiter is another publisher to consider. A 16

listing of opera publishing houses is included in Appendix A. The score used by the Opera Stage Manager should be the same one that the Maestro, rehearsal accompanist and Stage Director will be using. In the score there are many common music terms that aid in understanding what the music is conveying, such as “lento, very slow or pui mosso, a little faster than that which came just before” (Kelly, 182). A glossary of terms is described in Appendix B and the stage manager should be familiar with the definitions as they may influence the calling of cues. Understanding the music and what the Maestro does with the score is far more important than knowing if a note is a Bb or that the music is written in the key of F# Major. This is not to underestimate the importance of learning the music of the opera. An Opera Stage Manager must understand the nuances of a score in order to call cues effectively. Proper cue execution is all based on the tempi (Italian plural of tempo) controlled by the Maestro and the flow of the music on the page. Many Opera Stage Managers will mark their scores to add in highlights or clues to reading the score more effectively during rehearsal and performance. There is no set way for marking a score; each stage manager is left to create a system that works for him or her personally. Key items to highlight include time signatures, orchestral (rehearsal) numbers or letters, which indicate measure numbers or musical sections, and key instrumental passages that prompt cues. Orchestral numbers traditionally are marked in the conductor’s score but usually will need to be added to a piano vocal score by the stage manager or assistant stage manager. These numbers are are used by the Maestro to communicate to the orchestra and the pianist in rehearsal. Orchestra numbers are most commonly used however orchestra letters may be used in some scores. For example the 17

Maestro or director may say “take it 5 bars before rehearsal 1.” That would mean the accompanist would start at the measure noted in Figure 3 (Indiana).

Start Here

Figure 3. La Bohème vocal score page Musical Recording In addition to being familiar with the score, obtaining a recording of the opera with the tempi closest to what the Maestro will use is very important. The stage manager should determine from the Maestro which recording best approximates his or her preference of tempi. In opera it is not uncommon to work with a conductor who has recorded the piece before, but the question should still be asked in case the Maestro has new insight which will affect the performance of the piece. The stage manager should listen to the recording and follow the music on the page, listening to how the orchestra interprets the notes; it will become apparent that the piano vocal score is a condensed full score. With careful listening and while following the score the stage manager will be able to note key instrument passages and clues to look for during the calling of the opera. An important step when the stage manager is comfortable with following the score with the 18

recording is to mark timings in the score. Most opera companies prefer to mark the music every 30 seconds in the score, though in a complex technical production 15 second markings are not uncommon. The timings are put into the score so that the stage manager is aware of entrances and exits, scene shifts and the timing of quick changes. The use of the timings will be discussed in greater detail in Chapter V. One of the most important points to being an Opera Stage Manager is to understand the music. A key point here is to understand the music which is not necessarily the same thing as understanding the singing. Familiarity with the score and listening to recordings provides the clues to when set actions will take place. In opera performance, actions are almost always based on the music. The stabbing of Gilda in Rigoletto, Cio Cio San’s suicide in Madame Butterfly, even storm cues are dictated by the composer. Score Set Up The next step is to set up your score into a prompt book for rehearsal as you would for a theatrical play. A prompt book is the master copy of the score or script containing all blocking, cueing and management information pertaining to the rehearsal and performance, it is sometimes called a production book or production bible (Schneider, 51). In setting up the prompt book many stage managers use the same score that they marked up to learn the music as this will provide them with important aids when calling the opera. There is no set way to set up a rehearsal score book. Many stage managers will double-side copy their score. This method saves paper when copying a

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large Mozart or Wagner score as well as reducing page turning during the running of the opera. As will be discussed in chapter IV, in certain opera companies the stage manager does not take blocking notes. The stage manager does create blocking minis (reduced scenic diagrams for each scene, normally two to a page) to make notes during rehearsal. One major responsibility of an Opera Stage Manager is to mark entrances and exits of artists, chorus, and supernumeraries. These blocking pages would be double-sided as well if the score is double sided. Most frequently, blocking minis would be on the left side of the prompt book and the music is on the right. See Appendix C for an example of a prompt book page. Some stage managers create an additional book for the paperwork of the opera and some keep relevant information in the rehearsal score book. In the case of larger, more complex productions, a separate paperwork book may be more manageable. Stage management paper work will be discussed in Chapters IV and V. Understanding Opera Libretto An important component of preparatory work is to understand the plot of the opera. The score will provide key information such as specific props referenced in the score, for example the food and drink props brought by Colline and Schaunard in Act I of La Bohème. However, some publishing companies can put the reader at a disadvantage. The top vocal line of the score will be in the language in which the opera was written, and while an English translation may be placed below, it may not be an accurate translation. The best thing to do is to consult a reputable libretto book. Libretto simply means “little book” in Italian, and thus refers to the book or story of the opera. If the stage manager

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does not speak the language of the opera there is no need to panic. Though it is a useful to have a working knowledge of Italian, French, or German, Opera Stage Managers can get by if they learn some key words. To aid the young stage manager in learning what the libretto means in English, the stage manger should acquire a copy of the opera from Nico Castel. A valuable aid for opera stage managers is a series of English translations of libretti, Nico Castel’s Complete Libretti Series. Dame Joan Sutherland said of these books: Nico Castel has undertaken a stupendous task with his Operatic Libretti Series — a work that should have been done years ago ... How much time these publications could have saved me when studying a new opera! How fortunate are the present day students to be able to refer to these books, constantly improving their understanding of the complete work (Castel).

Mr. Castel has based his translations on the Leyerle Three Line Phonetic Translation System. This system “consists of the International Phonetic Alphabet spelling of the foreign language text on the first line, the original foreign language on the middle line, and the word-for-word English translation on the third line. When further explication of an otherwise difficult to understand passage in the word-for-word translation is needed, a fourth line, presented in a more literary translation, is given” (Castel). An example of this system is represented in the Figure 4 from Nico Castel’s libretti series from Puccini’s La Bohème Act I (Castel):

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Figure 4. La Bohème libretto example, Castel Series This example corresponds to this part of the score (Indiana):

Figure 5. La Bohème vocal score page Utilizing these translations not only helps the Artist understand the text better but aids the stage manager in understanding both the plot and flow of the opera (Castel). Another useful book for an opera stage manager is The Da Capo Opera Manual by Nicholas Martin. This book is out of print but used copies can be found on 22

amazon.com. In the preface Mr. Martin states “[the manual] gives you the ingredients necessary to produce an opera” (Martin). The book provides a brief summary of the opera’s history, biographical information about the composer and librettist, and historical dates and locations of the work’s first production. It also lists the number of scenes and acts, an approximate length of the opera by acts, and breaks down the roles of principal and chorus voices. The manual also provides the breakdown of the orchestral instrumentation needed so the stage manager has a guide of pit size. The manual lists the publisher and details if the rights are in public demand or still under copyright restrictions. Figure 6 below shows an example of Fidelio from the Da Capo Manual (Martin, 208).

Figure 6. Fidelio synopsis De Capo Manual.

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The next chapter will discuss the rehearsal process and further explore the relationships between the stage manager and the production staff.

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CHAPTER IV

REHEARSAL

Prep Week and Paperwork The week before rehearsals begin is called the preparatory (prep) week and it is during this crucial week that the stage management team gets acquainted with one another and the bulk of set up is completed. This work includes measuring the ground plan, taping out the rehearsal space, creating staging minis, drafting tasks lists and duty responsibilities for ASMs and ADs. See Appendix C for a checklist example. Opera stage management paperwork is similar to theatrical paperwork. In most instances the scenery, props and costumes will be owned by the company putting on the work or will be rented from another company so there may be existing archival paperwork from previous productions on which stage managers can base their current paperwork. It is important to notice when the archival paperwork was updated last; if possible it can be helpful to speak with the last stage manager who worked on the set to see what paperwork they may have if the company does not have any documentation. In terms of rental costumes, the stage manager should confer with the Production Manager about any sizing issues that may occur. The list from the costume rental company needs to be checked, not only by the costume staff but double-checked with the stage

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management. The stage manager needs to keep the director informed if there is a costume issue, especially with the chorus. In a limited time rehearsal the director will block the chorus with the assigned costumes from the rental company, but the director may need to change people around, and it will be up to the stage manager to check with the costume staff to make sure that will work with the rental costumes. This needs to occur in rehearsal as there may not time available to make a change once the production moves to the stage. The following list details the paperwork that should be created during prep week and examples of each are located in Appendix C, Stage Management Forms: Properties List Scenic running List Costume Plot and running list Contact Lists Wallet Cards Who What Where First Entrance Sheet Scene Breakdown A/V Chart Score Conversion Chart Daily Call Sheet (DCS) Daily Tech Notes (DTN) Rail Cue Sheet Scenic Shift Plot 26

A key document specific to opera is the WWW or Who, What, Where. This document is a useful guide to know when everything happens in the opera without having to refer directly to the score. This is the master blueprint of the production in paper form. The WWW lists when everything happens in the opera, who enters and exits, what prop they carry, what costume they wear, when they enter and exit based on the score page, and also the time they enter or exit ,when scenes change, and curtain moves. A short example is provided here and a full WWW is in Appendix C, Stage Management Paperwork. SCORE TIME WHO/WHAT WHERE Act I - Church di Sant' Andrea Della Valle 2.1.1 Curtain UP 2.4.1 0:00 Angelotti 3rd level Scaffold 4.3.1 1:00 CHORUS: Monk En L-4 4.3.1 1:00 CHORUS: Monk Ex R-2 Ex L-2 6.2.5 2:00 Angelotti 7.1.1 2:01 Sacristan En L-4

8.5.3

2:05

8.5.3

3:00

13.1.2

4:01

CHORUS: 2 kids CHORUS: 2 kids Cavaradossi

18.4.3 18.4.1 19.2.3

6:40 7:00

28.3.1 29.1.1

PROPS

COSTUMES

Act I rags Monk Attavanti key Sack of alter linens, Ring of keys w/1 removeable

Act I w/apron

En R-3

Choir, no jacket

Ex R-3

Choir, no jacket

En R-1

2 Books, Red cloth & Medallion

RECONDITA Sacristan Sacristan

Ex L-4 En L-4

Bucket Bucket w/water

9:50

Sacristan

Ex L-4

Ring of Keys, bag of linens

10:00

Angelotti

En L-2

Act I w/jacket

same

Figure 7. Tosca Who What Where snippet The notation under the score heading references the page, the system and the bar the action takes place. By example 6.2.5, the entrance of Angelotti would correspond to Figure 8 (Indiana): 27

Angelotti ex L-2 key

Figure 8. Tosca vocal score page The stage manager will normally take care of the daily call sheet, daily technical report, and the WWW; toward the end of rehearsal process the stage manager will create the scenic shift and fly rail cue sheets. The daily call sheet (DCS) is the daily schedule for the artists detailing who will be needed and what scenes are being rehearsed that day. It will list any vocal coaching (private music rehearsals between Artist and Maestro or Maestro 28

assistant), costume and wig fittings and meetings scheduled. The daily technical report (DTN) is the report that is sent to the production staff detailing any questions or issues from the rehearsal day. This report should state each issue or question clearly and succinctly. Accuracy and detail are needed as the better phrased the rehearsal note, the less confusion the next day, and confusion costs time and money. The scenic shift plot paperwork lists all the set changes done by the carpenters during the production. The fly rail cue sheet is created for the fly rail operator to know which drop or set piece needs to be flown in and at what point in the opera. Another document unique to opera is the score conversion chart. Sometimes there will be more than one score used in a production for any number of reasons, for example most of the cast may have the Ricordi version of the opera and the director has the Schirmer score. Therefore, to ease confusion, a score conversion chart is created to show respected page numbers between the two scores, see figure 9.

Figure 9. Madama Butterfly score conversion chart With this chart the stage manager can assist artists working from different scores locate their place in the music.

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The stage manager will assign the ASMs to be in charge of either the properties or costumes paperwork. The ASM is the direct contact person with these departments and are the conduit to the SM for any important notes such as fitting schedules and progress reports for completion of prop or costume pieces. The properties ASM will also be in contact with the properties manager about any new props or props that need altered or repaired. The overall communication with the designers and the Production Manager is conducted by the stage manager. Depending on the number of supernumeraries, one ASM may be put in charge of them; an opera such as Aida may have several hundred supernumeraries in the triumphal march scene. Rehearsal Room Setup Many of the duties of an opera rehearsal room set up are similar to those of setting up a theatrical rehearsal room. This includes such things as taping out the ground plan of the exact dimensions of the set onto the rehearsal floor, setting up tables to hold rehearsal properties (props), and obtaining and placing costume racks to hold rehearsal costumes. As opera singers tend to be staged downstage of the proscenium line, it is desirable to tape out the space of the stage apron if space allows. It is also important to mark the curtain line as well so the cast and directors are cognizant of where it falls, assuring that the artists and chorus will be staged above the curtain at the ends of acts. At center line, downstage of the pit edge, the conductor’s area and tables for the director and stage manager will be set. Always check with the Maestro as to how the area should be arranged. Most Maestros have an opinion of whether the piano needs to be on the right hand or left hand side of the maestro area. Traditionally, the piano placement is based on where the Maestro has placed the first violin section in the orchestra pit. The 30

placement of the piano may also be dictated by the space allowances of the room, but it is standard practice to check with the maestro first. If a grand or baby grand piano is used for rehearsal, the Maestro will have an opinion about its placement and proximity. If an upright piano is being used, it is important to make sure that the piano is angled in such a way that the accompanist can see the Maestro. Light from a desk lamp or stand (clip) light will be needed for either type of piano so the rehearsal accompanist can clearly see the music. Some Maestros will require an additional area set up to store scores and other supplies. As the Maestro is always at center, the set up of the director and stage management area is based off of where the piano is placed. If the piano is to the right of the Maestro, all the tables will be placed on the left side of Maestro. Usually, the director’s table will be to the immediate left of the Maestro, the stage manager’s table to left of the director table and the assistant’s table or designer/guest tables are set to the left of the stage manager’s table. Stage managers should check with the director and see if they prefer to sit on the side of the table with a music stand for their score or prefer to be behind the table, always allowing for adequate space for the director to move around freely. Stage management should check with the Maestro regarding whether a standard music stand or a conductor’s stand is preferred.”Conductor’s stand” tends to be larger and easier for oversized scores, however, they tend to take up more space which may become an issue. Stage managers also need to check on what kind, if any, stool or conducting chair the maestro requires. Most stage managers prefer their assistants not be seated as

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they should be already on their respected side of the rehearsal room (More on this during the rehearsal process section of this chapter). Copies of the ground plans, set renderings and costume pictures or sketches should be readily available to the director and stage manager. If space is prohibitive, a design book should be created that shows the scenic and costume designs for the production and this should be on the stage manager table for easy reference. It is customary to place set designs organized by act as well as an act set diagram highlighted with the color of tape on the floor chosen for each act, on each side of the rehearsal space so the artists can reference which color tape is used for which act as many times the sets will be taped on top of each other on the floor. First Rehearsals Ideally, the first few rehearsal for an opera production are set aside for the Maestro to work with the singers. Smaller companies with limited budgets may find this commitment unfeasible; but, in the long run, this early work will limit the need for time consuming special coaching sessions after blocking rehearsals begin. In terms of room set up for theses singing rehearsals, the stage manager should discuss what is required with the Maestro. Normal set up would be a row of chairs and stands that correspond to the number of principals with “covers” seated behind in the second row. Covers are Artists who are cast as understudies to the lead roles. The rows can be straight across or curved depending on maestro preference, with the maestro at center. Depending on the company the chorus is normally musically rehearsed separate from the principals, joining the principals during the first week of staging rehearsals. The

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maestro may elect to work with the chorus during the evening of the first week of rehearsal as well. If the opera is a new work, there are special challenges to making sure everyone has the most up to date copies of the score. In some instances, the composer is in the rehearsal room working alongside the Maestro and director. The stage manager, in such a rehearsal will need to rely heavily on the rehearsal accompanist to make sure that the most update version of the music is being used. Many times with a new piece, music is being rewritten on the spot and the stage manager is constantly updating the score to reflect these changes and alerting the Artists of the changes. As there is normally no dialogue in an opera unless one is producing an operetta such as The Merry Widow or Mikado, the first day the director has the cast for staging is spent introducing the artists to the set and costume designs for the production. Many times the scenery and costumes for operas are rented from other companies, so the stage manager will walk the artists through the set taped on the floor and show pictures of the sets as a designer model is not normally available except in the case of a new production. Most opera directors prefer to work in order of the opera with the principals first and then add the chorus in later staging rehearsals. Rehearsal Hours Before discussing the rehearsal process, it is important to understand how the rehearsal day is broken up in terms of hours. As stated in Chapter II most non union companies follow the same rules as a union company. For example when it comes to daily rehearsal hours, An Artist (Principal) cannot work more than six hours a day for a 33

total of 36 hours in a week with one full day off. This is defined in the contract example from San Francisco Opera: 1. Maximum Hours in a Day The ASSOCIATION shall not require PRINCIPAL to work a total of more than six (6) hours in any one (1) day, which total shall include performances, time actually spent in rehearsal, as well as any time PRINCIPAL is required to be present for rehearsal. Make-up and dressing and undressing time shall not be included in a PRINCIPAL’s work hours for the purpose of calculating the number of hours worked in a day. Hours in excess of six (6) hours shall be subject to overtime except coachings at the request of, or with the consent of, the PRINCIPAL, and wig and costume fittings. 2. Elapsed Time Between Rehearsals No PRINCIPAL may be called to rehearse unless at least twelve (12) hours have elapsed since his last appearance in a performance, dress rehearsal, or rehearsal with orchestra in which he appeared on the preceding day, or two (2) hours after he last appeared in a matinee performance on the same day, and provided the call is not earlier than 10:00 A.M. However PRINCIPAL may be called for orchestra rehearsal any time after 11:00 AM, as long as at least eleven and one-half (11 and 1/2) hours have elapsed since his last appearance in a performance, dress rehearsal or rehearsal with orchestra on the preceding day. If the ASSOCIATION utilizes this provision to shorten the rest span to an eleven and a half (11 ½) hour turn around, then PRINCIPAL shall be paid pro rata of the Free Day compensation for the half (½) hour. Such compensation shall be paid over and above all other contractual wages (San Francisco). Due to the nature of the job, the working rules for stage managers are not as restrictive, as can be seen in the following example from the New Orleans Opera Association collective bargaining agreement: In recognition of the unique nature of the positions, STAGE MANAGERS are not subject to the rehearsal limitations or the overtime provisions contained elsewhere in this Basic Agreement. However, EMPLOYER shall assign only reasonable and industry- accepted hours and responsibilities. This is not to relinquish the STAGE MANAGERS rights with regard to the other provisions of this Basic Agreement including but not limited to Arbitration, Force Majeure, and the like (New Orleans).

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Clauses for stage manager overtime are normally spelled out in another part of the AGMA agreement, as seen in this example from the agreement for Washington National Opera: OVERTIME a. After 60 hours of work in any week or 10 hours of work in any day, PRODUCTION STAFF shall be compensated at the PRINCIPAL overtime rate, to be calculated in quarter hour increments (Washington National). AGMA Assistant stage managers have a more concrete overtime clause: (4) A rehearsal week shall consist of six (6) days prior to the first performance or seven (7) days including one (1) Free Day on which no rehearsal may be scheduled and sixty (60) hours of service (twenty-four (24) hours for SECOND ASSISTANT STAGE MANAGERS). In any week in which hours of service are outside these parameters or in any week during which services are performed on a Free Day, the ASSISTANT STAGE DIRECTOR or ASSISTANT STAGE MANAGER shall receive additional compensation equal to one sixth (1/6) of his weekly compensation. Such overtime compensation, other than Free Day overtime compensation, may be credited against the difference between the ASSISTANT STAGE DIRECTOR’s or ASSISTANT STAGE MANAGER’s actual compensation and the minimum compensation set forth above (New Orleans). The six hours of rehearsals for principals are normally broken into two three hour sessions. Some companies will have three 3 hour sessions depending on time in the rehearsal schedule, or the first six hours will be the principals and the last three hours with the chorus. As per the AGMA agreement with Washington National Opera, “All PRINCIPAL ARTISTS shall be allowed an uninterrupted rest period of not less than ten (10) minutes for every ninety (90) minutes of staging or music rehearsal. Rest periods need not be at the same time for all soloists” (Washington National). It is the stage managers duty to keep track of the rest periods. When working with the chorus the rules may vary for each contract. For instance, the Washington National Opera contract stipulates, “CHORISTER/CORPS DANCER 35

shall be entitled to rest period(s) of ten (10) minutes for each hour CHORISTER/CORPS DANCER is required to rehearse. No rest period shall be of less than (10) minutes duration” (Washington National). As breaking every hour is not always conducive for rehearsals a vote can be taken with the chorus to rehearse for an hour and a half and take a 15 minute break. Then the chorus is normally released 15 minutes early to fulfill the break rules. In a non union company only one 15 minute break in a 3 hour chorus rehearsal is normally observed. Once a rehearsal session has reached its end the stage manager will announce the end of rehearsal. This is very important in an AGMA company as any work done past the allocated hours is considered overtime and must be noted by the stage manager. Contracts normally stipulate a lunch and dinner break of no less than one hour; some companies will give an hour and half for dinner. A typical rehearsal day would be: 10:00am to 1:00pm – rehearse 1:00pm to 2:00pm – lunch 2:00pm to 5:00pm- rehearse 5:00pm to 6:00pm – dinner 6:00pm to 9:00pm- rehearse

Rehearsal Process The start of a rehearsal day for the stage management team begins thirty minutes to an hour before the cast arrives depending on what needs to be set up for rehearsal. The rehearsal space is swept and cleaned and set up for the first scene that is being rehearsed that morning. The stage manager would set up his area and computer and open the documents that will be used every day in rehearsal: the WWW, the daily call sheet, and the daily tech notes. Copies of the daily call sheet should be on the stage management 36

table, on the callboard and any other key areas that the call sheet can be readily read by the artists and tech staff. Depending on the company and the procedures set up for Artist/stage management communication, direct mobile call, or a rehearsal hotline with voice mail; it is important for the stage management team to make sure that all the Artists, chorus and supernumeraries are present prior to the start of rehearsal. Traditionally, the stage manager will create a wallet card with the Artists’ contact phone numbers as well as the mobile numbers for the stage management team, the Maestro and Stage Director, so that everyone knows how to reach one another. On the card, if the company utilizes one, will be the rehearsal hotline number. A rehearsal hotline is a number that anyone can call to check on the rehearsal schedule for that day and depending on the system could leave a voicemail for the stage management team. As the time nears for the rehearsal to start the stage manager needs to make sure if everyone is present and if not, the stage manager should assign an ASM to call the missing members of the cast. The ASMs should set up the props and rehearsal costumes that will be needed for rehearsal. If the company requests it an ASM is normally tasked with making coffee and hot water for tea. At an AGMA company this task is completed by the union properties department. Fresh water and lozenges should also be on hand for the Artists. The stage manager needs to make sure all the artists are present and ready when the rehearsal begins and once the rehearsal hour starts the stage manager will announce it to the room: either with a “ladies and gentlemen we are met” or “ladies and gentlemen let us begin, places please.” Once the artists are in place the stage manager will look to or say to the conductor “Maestro”, signaling that rehearsal can begin. Consistency and a clear voice 37

are important when running the room. It is important that everyone can hear the stage manager and know what is about to happen. Clear commands are important throughout a rehearsal day when announcing breaks and the end of the rehearsal day. When the staging rehearsals begin, the stage management team records the entrances and exits of the artists in their scores as well as the WWW. There is no set way to mark the entrances and exits in the score; colored, removable post-it™ arrows or notes are one way to highlight the action and allows for the cue to be moved if need be. The costume they are wearing and if they are carrying any props should be noted, as well as on what side of the stage the action occurs in both the WWW and score. This information is important as the stage manager needs to know when each artist is needed on stage in order to set up a “places call” in his score. Depending on the location of the dressing rooms, this may be 4 to 5 minutes before the artist is needed on the stage. It is the responsibility of the ASMs to cue the artists onto the stage at the proper point in the music and this is why the opera ASMs are on their respected sides of the stage during rehearsals. As rehearsal halls are normally not the same size as the actual stage house, the entrance cues are normally just roughed in during rehearsals. It is important that during rehearsals the ASMs are giving clear signals to the artists when cueing them to enter so that it remains the same procedure on stage. When chorus scenes are blocked with just the principals it is important to coordinate with the AD and director as to how many chorus members will be present on stage and where they are in a scene so that stage management is prepared for the chorus rehearsal. It helps during the principal only rehearsals if the ASMs walk the part of the

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missing chorus or supernumeraries. The stage management team should always be ready to assist with the rehearsal process. A stage manager needs to be aware of when assistance is needed and signal for the ASMs to step in, or step in themselves if need be. This should be performed as silently and seamlessly as possible so as to not disrupt the rehearsal process. In working with Artists it is important to understand that unlike a theatrical production where there are normally weeks to rehearse and “find a character”, opera singers are expected to arrive at rehearsals knowing their part musically and have an idea of the character they are cast to play. Some opera companies hire singers up to five years in advance. As Kelly observes, “This tends to make [opera] rehearsals more of a working atmosphere than the long discovery and developmental rehearsals in theater as actors create their character and learn roles simultaneously (Kelly, 180). Depending on the tier level of the company, rehearsal may vary from as little as two week from first day of rehearsal to final performance, to four to six weeks. It must be understood that the voice is the most important instrument in an opera and the stage management team needs to keep a keen eye on the health of the artists during the rehearsal and production periods. Tissues, lozenges, and hand sanitizer should be handy and out on the artist table and stage management table. It is important to note that during rehearsals many singers elect to save their voices, as singing full voice every day would wear them out vocally. This is called “marking” a rehearsal. As with any performers, opera singers all have certain rhythms and ways of working and it is to the advantage of the stage manager to observe and note how the artists work.

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When the chorus staging occurs the stage manager needs to be mindful of any offstage chorus singing that may be called for in the opera. It is important for the stage manager to know where the best place is for the chorus to be placed when these offstage sings occur. One has to be cognizant of scene shifts and scenery placement during these moments so that there will be no confusion backstage during the offstage sings. Depending on where the chorus is positioned or the effect needed, amplification may need to occur. The technical aspect of this will need to be coordinated with the audio and electrics crew. The chorus master will need an audio monitor of the orchestra and a video monitor to see the Maestro. The stage manager will need to include these audio-visual needs in the DTN as well as the crew paperwork. The need for audio/visual tracking paperwork will be discussed during the technical running section in Chapter VI. The chorus master may also need a podium and stand with lighting to conduct from and this must be coordinated with the properties and electrics crew to set up and take down. As the staging is solidified and set furniture begins to be used in rehearsal, the stage floor needs to be “spiked”, marked with colored tape on the upstage corners of the set or prop. This tape will correspond to the color designation for the scene and act that the furniture or prop is used in, the tape should also be marked with a sharpie® marker listing what act and scene so the marks can be easily identified. These spike marks will need to be noted on a spike map diagram and are measured and noted on the scene shift and or properties running paperwork. Spike marks are measured in inches or feet left or right from the center line of the stage and above or below the proscenium line. These measurement need to be accurate so when the production moves to the stage the marks can be replicated without confusion. 40

As many opera sets are rented from other companies it is not uncommon to have the actual properties and set pieces in rehearsals, depending on when the set arrives at the company. If using rehearsal furniture, it is helpful to know the dimensions of the actual pieces so there are no surprises when the actual furniture is used, which sometimes is not until tech week. With any furniture or props, actual or rehearsal, the stage management staff needs to make sure that the pieces are safe and functional for the actions of the staging. Props should be checked for safety issues, sometimes a chair creaks because it is old, sometimes it creaks because it is about to break; regular checks of your props and furniture can help avoid a safety issue or accident. Whether the rehearsal period is two or six weeks, it is imperative to keep up with all paperwork and communication with all production departments and technical staff. All paperwork and technical concerns need to be understood by the time “full-room-runs” begin. Full-room-runs are a complete work-through of the opera with the full cast and normally happen during the last week in the rehearsal hall. At least one of these room runs will be attended by the lighting designer so that he can see how the production is being shaped and confer with the director before lights are hung in the theatre; other designers are encouraged to attend. During this designer run-through provide a good opportunity to time the opera once again to see if the timings have changed, correct timings are critical going into tech week. These room runs give the stage manager a good idea of how the production will flow and will better prepare the stage management team for moving the production to the theatre and beginning the technical rehearsals.

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CHAPTER V

TECH WEEK

The designer run-through is normally the last rehearsal staged in the rehearsal hall. If possible the tech staff attends the rehearsal to better prepare for the upcoming tech week. Tech week is the time when the artists are joined with the physical and mechanical aspects of the production. As Kelly observes, “there is probably no more intensely involving and rewarding period for a stage manager than when a show loads in to the theatre and then goes through its technical rehearsals. The stage manager is at the center of every decision and the instrument of every bit of creation at this point” (Kelly, 123). Moving to the Stage Moving to the stage is the time when the preparations and attention to detail from the stage manager come together. The cues, timings and movements of the scenic pieces that exist in the paperwork now will be seen in actuality. The better prepared and accurate the stage manager is, the smoother tech week should progress. Prior to leaving the rehearsal hall the stage management team should double check their paperwork and spike map as in most situations the team will not be able to return to the space to recheck their work.

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If the props and set furniture are the real props and furniture being used for the performances the stage management team will assist the properties team in noting and labeling which piece is for which act and scene. Any items not being used for the production should be set aside and marked as such. Many times, with a rental set, not everything that is sent with the production will be needed; however you cannot afford to lose any pieces of the rental package. It is not uncommon to start rehearsals on stage, only to have the director ask for ‘the other chair we used in the rehearsal room’, so it is important to know where everything was sent. The stage management team will pack up their office supplies, computers and anything they may need for the theatre. Paperwork should be refined as much as possible and be ready to give to the crew heads (supervisors) when the team arrives at the theatre. The old adage is true, there is never enough time onstage before the show opens, but no matter what, the show will open at the end of tech week and the stage manager must make sure the production is ready. Load-in to the theatre is the time when the set, props and costumes are taken off the truck and set up in theatre. If the scenic elements are rented, the stage manager should check in with the Technical Director (person in charge all technical components on the stage) to make sure that all the props, and set pieces that were on the inventory sheet actually arrived on the truck. If there are any issues, the stage manager must report that to the Production Manager immediately to try to resolve the issue. As the crew is building the set and hanging the lights, the stage manager and ASMs set up their office in the theatre office space and get acquainted with the backstage

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area. Stage managers can work autonomously to perform these actions and do not need to involve the crew. This is true of a union or non-union theatre. It is important to understand the rules, both written and unwritten, when working in a union theatre. The International alliance of theatrical stage employees (IATSE) is the union of the stage hands, costumers and electricians. It is important for a stage manager to create a good working with relationship with the crew. When entering the stage for the first time it is customary to ask the union steward if it is permissible to walk the deck. This may seem strange but it shows a level of respect for the venue and the crew that works there. The union steward is in charge of the work call. At every union call there are a required number of supervisors (heads) for each area and a set number of crew needed for the work to happen. When any part of the opera company is working onstage the heads will be in the theatre. In most situations the heads represent the carpenters, properties, fly rail, electricians, and sound. Though it is the responsibility of the production manager to be directly concerned about the crew hours and rules, a stage manager should be familiar with what is expected from the union as well as what the union expects from people with the production. Many times nonunion opera companies will perform in an IATSE venue and will have to follow the house rules. In most union house situations all equipment off loaded from a truck needs to be brought to the stage and moved to its specific area by union crew. That does not mean a stage manager cannot carry their own laptop in, but if office supplies are loaded on the supply truck, the crew would unload and put it in the stage management office. As the scenic construction continues the stage management team will be setting up the office and preparing the callboards, dressing rooms and backstage area for the 44

artists. The stage manager should meet with the wardrobe master to discuss dressing room locations and decide on dressing room assignments. It is important here to make sure that the artists do not have any clauses in their contracts as to request to have a nonshared dressing room or for the dressing room closest to the stage or elevator. Once this is worked out the stage management team should place the artists’ names on the door. Here is another opportunity for an unwritten rule of courtesy. Even if you called them by their first names all through rehearsal, or see them socially after rehearsal, the names on the door should be Mr. Domingo, not Placido and Ms. Fleming, not just Renee Fleming. The stage management team should place a valuables bag with the artist’s name on it, this bag could be something as simple as a zip lock bag or perhaps a bag created by the wardrobe team. The purpose of the bags is for the artists to place any valuables that they do not want to leave in their dressing rooms while they are on stage. These valuable bags are collected by an ASM after the half hour call and stored at the stage management console or in the locked stage management office. The stage manager should discuss the need for any quick costume change booths with the wardrobe crew and coordinate their installation with the properties crew. The stage manager should put up directional signage so the artists have a clear understanding of how to navigate from their dressing room to the makeup/wig room to the stage deck (unless the make-up and wig staff does not come directly to their dressing room). A directional map should be placed on the callboard and positioned at key locations throughout the backstage area. Most venues have a callboard by the backstage entrance and if not the stage manager should set one up. On the callboard should be all the pertinent information about the production: sign in sheets, venue map, daily schedule, 45

dressing room assignment list, bow order sheet, local menu information, any notes from the director or maestro. Paperwork should be printed for the crew heads at this time. During load-in, the stage manager should come on deck periodically to check on the progress. When the sets are ready to be positioned, the stage manager, along with the technical director and head carpenter, need to be sure that the set is spiked in the same place that the ground plan specifies. Once the stage is set the stage manager should check the amount of space they have in the wings for set storage, quick change booths and safety issues. Although the stage manager should already be aware of where the lighting booms (poles with lighting instruments, normally found in the wings) and sound speakers are located, it is best to double check the positions so there are no surprises when the artists come onstage. Operas are not normally amplified unless an offstage effect is called for but, speakers are still necessary for the artists onstage to hear the orchestra. Speakers can be placed in the downstage wings and upstage behind scenery, sometimes they are hung in the air so as not to interfere with set moving. Placement depends on the needs and spatial limitations of the scenery and the stage house. As the set pieces are stacked up for storage backstage, it is important to remember to leave room for any quick change booths. When the stage managers go onstage in an IATSE house, certain tasks that were performed by the stage management team will need to be undertaken by the union crew. Paperwork should be given to crew heads so the carpenters and properties crew can place the set and prop items on the correct side of the stage. The spike map becomes important when it is time to spike the furniture and any prop items, as stage managers are not allowed to spike the items in a union house; that is the duty of the properties crew. 46

As the ASMs start to work with their respective departments, the stage manager needs to make sure the stage management console is set up. Each venue will have a slightly different console set up for where the stage manager will call the opera. Traditionally, an Opera Stage Manager is located in the wings down stage right. Whether the console is a table or podium set up the elements are the same; the stage manager will need two video monitors, one with a view of the conductor and one for a view of the stage from the front of the house, an audio monitor is needed to hear the orchestra. For backstage and front of house communication the console will have a headset to speak to the crew, a microphone to make pages and announcements backstage and a front of house (FOH) microphone to communicate with the audience, this microphone is often referred to as a “god mic”. Ideally, the headset system would have multiple channel access so that the stage manager could communicate with each department individually without the other department hearing the other, it keeps down on confusion. However, in many houses, most systems have two channels at best. The console should have a cue light controller as well. Cue lights are used to notify the fly rail, Maestro in the pit, and may be used to cue the Artists when to go onstage as well. This will be discussed in Chapter VI. A diagram of a stage management console is shown in figure 10.

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Figure 10. Stage Management console diagram Tech Week Schedule A typical schedule for tech week following load-in would be a “paper tech”, “dry tech”, “piano tech”, orchestra dress, final dress, and then opening. A “paper tech” is when the stage manager and director sit down at a table and go through the whole opera discussing what happens during each scene of a production. Paper techs can be quite beneficial on large productions to make sure everything is covered ahead of the actual on stage technical rehearsal. A dry tech, a technical rehearsal at which all the scene shifts, rail cues and special effects are rehearsed without artists, does not always happen, due to time and availability of venue, but in a highly technical show it certainly can save a great deal of time in a tech rehearsal. If there is no time do dry tech, working out the technical aspects happens during the piano techs. A piano tech is a rehearsal for all the technical

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aspects of the production with the Artists and a piano. The duration of the piano techs are between four and five hours depending on contract agreements and normally span two days. The second day can sometimes be a piano dress tech where the costumes are added, without wigs and make up. Before the tech starts, the stage manager and director will confer to decide how to use the time allocated most efficiently. Rehearsals must start on time as the union crew is only on the clock a set number of hours before an overtime situation will occur; a four hour call is standard. In a show with many scene changes and rail cues it may be best to run a “cue-tocue” rehearsal, if there was no time for a dry tech. A “cue-to-cue” is the rehearsal which starts at the top of the show and moves from one technical moment to the next without pausing for any scene work. Though this method gives the crew a chance to rehearse, it can be a bit detrimental to the overall success of the rehearsal as the shifts and cues are not occuring in real time. This cue to cue rehearsal would be for the scenic shifts rather than lighting cues. Lighting cues are normally created in the afternoons of tech week without the artists present. As David Grindle says “the ASMs and volunteers […]”walk lights”, the cue to cue is done with them, not the cast.[…]During the technical rehearsals the lighting designer will smooth out the lighting cues as the show goes along (Stern, 207). In a union house members of the crew may “walk lights” as well as the ASMs. The stage manager would be in the house with the lighting designer and director, recording the cues in the calling score. The piano techs can be slow and taxing for the Artists as they are basically there for the tech to happen around them, this is not a rehearsal for them, as the director is concerned with the technical aspects of the production during these rehearsals. Safety is 49

critical at this time for the artists. The stage manager must be focused to everything happening on the stage, especially with moving scenery. Each scenic shift should be performed as often as time allows to the satisfaction of the director and stage manager. Keeping the morale up for the artists is important at this time; the artists cannot be made to feel like props in the opera while the team works on the technical aspects. Piano techs are also difficult from a musical standpoint, even though the rehearsal period was conducted with piano; the Artists have had the sitzprobe before the piano tech and are now used to hearing their musical cues with a full orchestra. As mentioned previously a sitzprobe is an orchestral rehearsal where the artists are normally seated on stage singing through the opera and working out any vocal concerns. This addition of the orchestra can also be an adjustment for stage managers, as they may be listening for the cue to come from the instruments carrying the bass line and the piano may not play that part during the rehearsal. This is another example of why the Opera Stage Manager must understand the music, and be able to call the cues effectively, no matter what instrumentation is utilized. In place of a sitzprobe, a Maestro may elect to have a wandelprobe, an orchestral rehearsal where the Artists move around the set while they sing. Some Maestros prefer the wandelprobe so they can listen for any sound balance issues. Often times the wandelprobe is omitted due to budgetary restraints. At the sitzprobe or wandelprobe, the stage manager will be able to hear the full orchestrations and watch the conductor’s movements more closely. Depending on time, the Maestro may choose not to run all of the music and instead focus on problem areas or complicated passages. A union orchestra will follow the rules of the American Federation of Musicians. Time is critical here, as 50

the musicians will be engaged for a three hour call with a 25 minute break before an overtime situation occurs. The stage manager needs to meet with the union representative from the orchestra and agree to the correct time. There will normally be a clock in the pit that the representative will watch to make sure that the rehearsal is in following the union time rules. During a sitzprobe the orchestra manager will normally keep time themselves but during the orchestra dresses it will be the responsibility of the stage manager to stop the orchestra for break and the end of the rehearsal. The second piano tech or first orchestra dress is traditionally run in costume without make-up and wigs depending on the company. Costume quick changes are rehearsed on this night and further refinement to scene changes completed. Follow spots are added at this rehearsal and headset communication becomes crowded as the assistant lighting designer is normally talking the follow spots through their cues during this rehearsal. It is at this rehearsal that the stage manager starts to get into the cadence of calling all the scenic and lighting cues. This is also when the stage manager starts to page the artists to the stage for their scenes. Unlike legitimate or musical theatre, the artists in opera are called to places for their entrance normally about four to five minutes prior to their musical entrance. This page is done over the backstage microphone and the artist is called by “Places please, Mr. Domingo, Mr. Domingo to stage right, please.” Formality and tradition are in place here when calling the artist to stage. The ASM must inform the stage manager when the Artist has arrived or not arrived to the stage so another page can be made if needed.

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The stage manager makes calls to the wardrobe and make-up crews over the backstage microphone if they are needed for quick changes or wig adjustments during the production. These departments are not normally on headset. The stage manager should also make announcement about timing during the production over the paging system, such as “15 minutes to end of act”, “10 minutes to end of act”, so that the wig and make up crews can be ready for the Artists at intermission. During the intermission may be a full costume and wig change for some Artists or a makeup touch up depending on the production. These crews should also be called 5 minutes prior to the time needed. These cues should be written at the appropriate time in the calling score. The first orchestra dress is normally the technical rehearsal where stage managers discover if they have the cues placed in the correct places and have enough time to speak everything that is needed before it actually happens. In a technically heavy opera, the cadence and flow of the stage manager cues and pages have to be well planned out. It is not uncommon to have to page artists and wardrobe to stage while calling light, scenic and follow spot cues. As mentioned previously, there is a cue light controller on the stage management console and when a stage manager calls a standby to the fly rail (rail), such as “Stand by on Rail Cue 7 on the red”, meaning that the stage manager will turn on the red cue light in the fly rail. When the stage manager shuts the red cue light off the fly rail operator will initiate the cue. If there are many cues happening at once, it is easier to use a cue light rather than having to say “GO” an additional time. An example from a prompt score for Le Nozze di Figaro illustrates a heavy cue sequence that utilizes cue lights. The stand by cue would be called as “stand by lights 318, stand by carps for all doors to move out, stand by lights 318, stand by rail cue D on the red”. The go cue would be given as 52

“lights 318 and upstage doors outgo; SLand SR doors out go” (and shutting off the red cue light for the fly rail and the blue cue light for the servants to enter as there was no ASM on that side of stage).

Figure 11. Le Nozze di Figaro vocal score page During the piano tech and first orchestra rehearsal the director or maestro can stop the production to address a concern, a late cue, incorrect scene shift, etc. The stage manager may also stop the production if there is a safety concern; or if the next cueing sequence is not ready or needs to be repeated. When the orchestra is in the pit and on the clock, it is not desirable to have to stop, but sometimes that cannot be avoided, certainly the Maestro can stop to fix anything musical, but the stage manager and director try not to stop. If a stop has to happen, the stage manager or director will use the audience paging microphone and announce a hold to the stage. The stage manager will announce a hold over the headset and the backstage microphone. When a director or Maestro calls a hold, the stage manager should step onstage to hear where the director wants to start. The stage manager and ASMs will make sure everything is reset to where the director would like to begin. The stage manager will ask the maestro where they will be starting from

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and announce it over the headset and microphones. Normally, the command will be “take it back to 22/2/7 which means starting on page 22, system bar 2, measure 7 in the score. The stage manager will inform the crew what cue sequence they need to be ready for and what time that occurs on their paperwork. Once the orchestra is in the pit, the rehearsal is essentially for musical issues, a time for the Maestro to work out concerns with the orchestra and Artists. The second orchestra and final orchestra dress are done in full costume and makeup and are traditionally full performances without stopping. During the orchestra dress rehearsal/orchestra final dress, the stage manager starts calling the full opening cue sequence with the main curtain cues. The pre-show and intermission checklists need to be finalized; in case something happens to the stage manager a replacement can open the prompt score and effectively call the production. The final dress rehearsal will sometimes have an invited audience. At this point the stage manager will begin to coordinate with the house manager concerning the opening of the house. This will be discussed in detail in Chapter VI. The day before the first performance is traditionally a day off for the Artists. If there are technical issues that need to be addressed, this day off is utilized by the tech staff to prepare the production for opening night. Due to the vocal demands of opera, it is customary for artists to have the day before a performance off, which is why many companies will double cast the operas if the schedule calls for back to back performances.

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CHAPTER VI

PERFORMANCE

As Marie Merkel, freelance Opera Stage Manager stated: Stage managing opera is a challenge – similar to a three ring circus because you have so many elements coming together with huge casts that sometimes include children and animals. But, when things get tense, I listen to the music and I realize-that’s what it’s all about (Schnieder, 172). Pre-Curtain The stage management team should arrive prior to the Artists, Depending on the first make up call time this could be between one hour to one hour and half before curtain time. In union houses, no one, including the stage manager, is allowed on the deck until the crew is on the “clock” (the appointed union starting time), but the stage managers are allowed into their offices at the theatre. Traditionally, the crew would be called one hour before the curtain, depending on the contract. During the first half hour the lighting crew is performing a lighting dimmer check (checking each light to make sure that it is functioning properly), the properties crew is sweeping the stage and the carpentry crew is setting up for the first scene.

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Upon arrival, the stage manager should check in with the crew heads and check the stage management console, to make sure all the video, audio and communication devices are functioning properly. At one hour to the start of the opera, the stage manager would announce “one hour to curtain” over the backstage microphone. At this point the stage manager will confer with the house manager to make sure there are no issues that may affect the start of the production, such as lobby, weather, and traffic issues. The stage manager should also confirm the timings of each act, length of intermissions, and any special effects that may affect an audience such as strobe lights, gunshots, and fireworks with the house manager. The stage manager should also discuss procedures for communication; normally this communication will be on hand-held radio or through the headset system. An example of a house manager information sheet is in appendix B, Stage Management Paperwork. The stage manager and house manager need to be able to reach one another in case of an emergency, either backstage or in the audience. During the production the stage manager will call the house manager before the ending of each act so the house manager is prepared for the audience to be let out of the auditorium. The stage manager will also alert the house manager if an Artist onstage spots a camera flash or video in an audience. The stage manager will call 45 minutes to curtain and half hour over the paging system. The call for half hour alerts everyone that the production will begin in one half hour, it is also normally announced that the house is open, signifying the audience will be allowed in the theatre auditorium. The stage may not be fully ready by this time, however work can continue above the curtain line. The main curtain will be brought in and the first lighting cue will be called just prior to the half hour call. As the air is dry in most 56

theatres, the prop crew or the ASMs will be tasked with spraying mist into the air to help create moisture. A clean paint sprayer or large pump sprayer is best for covering a larger area. This is referred to as “spritzing the stage”. When Artists begin to come to the stage for the start of the opera, there will be many preshow offers of support to one another. In theatre one hears “break a leg” instead of “good luck”; in opera one hears “Toi, Toi,Toi”. It is said that this custom is derived from a European tradition “of spitting three times over someone's shoulder for good luck” (threes.com); or one may hear the Italian saying, “In bucco a lupo” meaning good luck. The stage manager checks in with the crew heads and communicate with the front of house to make sure the production is ready to begin. If there is to be a curtain speech, this will normally occur after the house lights go to half intensity and before the orchestra starts to tune. If possible any pre-curtain speech would occur prior to orchestra time so as not to interfere with the union time constraints. The stage manager will cue the orchestra to tune, either with a cue light in the orchestra pit or by coordinating with the concert master that when the house lights go to half the tune can begin. It is important for the stage manager to know how long the orchestra will tune; traditionally it is about two minutes in length and consists of two parts. The stage manager must be certain that the tuning is complete before calling the house lights out. Once the house lights are completely dark, the maestro will enter the pit. The stage manager will call the follow spot to pick up the Maestro or this will be done with a lighting special, the Maestro will then bow to the audience. Once he turns to the orchestra and raises his baton, the production begins and there is very little opportunity to stop until the final cutoff of the music. An example of a top of show calling/checklist sequence is shown in figure 12. 57

@ 60 minutes Walk the stage deck Confer with crew heads Check stage management console controls Check in with house manager CALL: “One hour to curtain” @ 35 minutes Make sure sets, rail, and lights are set CALL: Main IN @ 30 minutes “½ hour” Lx 1 GO (OP) Sets/Props Ready (Deb,) “Open House” (House Manager)“Work Lights OUT” @ 15 minutes “15 minutes to Curtain, collecting valuables” @ 20 minutes CALL “5 minutes to Places – (and to Mo.) @ 25 minutes “Crew To headset “ORCHESTRA TO THE PIT” Check w/FOH for a positive go in 5 minutes “Places UR: PRINCIPALS: MR.. WHITENER “Places ONSTAGE: CORO TUTTI “Maestro to Places” “Give FOH a ONE MINUTE WARNING” @ 2 minutes before Orchestra Time “ LX 2 H ½ GO” > LX 2.5 GO @ /End of tune/ ”HOUSE OUT GO” @ “Maestro to podium” “LX 3 MO LIGHT UP GO” @ Maestro FACES stage GO LX 4 Figure 12. Top of Show Calling Checklist Calling the Performance

During the performance, the stage manager rarely moves from the stage manager console. Stage managers must start timing the production as soon as the Maestro gives the downbeat to the orchestra. This is the official time clock for all cues in the

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performance; it is not the official union clock for the orchestra as orchestra time begins at the agreed upon time dictated by the AFM contract.

Ideally, the downbeat occurs right at the published curtain time, barring any house delays for audience or backstage issues. The opera timings should remain constant over the run of performances, with slight variations for audience clapping or unforeseen incidents in scene shifts that affect timing. The stage manager watches the maestro and the stage from video monitors as many times, due to space limitations, scenery may block the direct view of the stage. The stage manager follows the score, watches the maestro and calls all the technical cues and Artists’ pages. The ASMs are in charge of their respective sides of the stage. It is their job to keep everything running smoothly, making sure that props and artists are where they need to be at the correct time; informing the stage manager of any crucial problems that need problem solving. From the downstage right wing position, the stage manager keeps an overall eye on how the technical components are functioning. As Thomas McConnell, thirty year stage manager for the Metropolitan Opera and former Navy fighter pilot said “setting a plane down on the deck of an aircraft carrier was far easier than pulling off Wagner without a hitch” (New York Times).

When the curtain falls for act one, the stage manager calls the house lights up. There are fifteen to twenty five minutes of intermission depending on the company and theatre. During the intermission, the stage management team will make sure the scenic change is progressing in an efficient manner. The stage manager will record the notes and timings from act one into the production report. An example of the report is in appendix

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B. The stage manager will go backstage and check in with the maestro about any issues during the first act, and with the principals and chorus to check their morale and overall impressions of the act. The stage manager communicates the timings of the intermission counting down until the next act begins, not only over the backstage microphone and headsets but to the house manager. It is important in a union theatre that intermission not exceed the allotted time; especially if the opera is running close to union overtime. The stage manager follows his or her intermission checklist to be sure everything is completed. See figure 13.

0 Minutes “20 minute intermission” @ 5 Minutes “10 minutes” @ 10 minutes “5 minutes to places” (and to Maestro.) @ 15 minutes “ORCHESTRA TO THE PIT” “Crew To headset” “Places top of II” USR: MS. KING/MS. ROSENTHAL DSL: MR. DANIEL/MR. HAHN @ 18 minutes “Maestro to Places” FOH CLEAR PIT LIGHTS OUT GO STAGE WORKS OUT SB LX 43 HOUSE ½ OUT, LIGHTS 44, 45 MAESTRO UP/OUT WARMERS OUT “HOUSE TO ½ LX 43 GO” TUNE LIGHT OUT > @ End of Tune House OUT LX Q 44 GO “SEND THE MAESTRO” “Mo. Special UP GO ” ORCH BOW 60

MAESTRO Special/ OUT LX Q 45 GO HOUSE OUT GO” Figure 13. Intermission Calling Checklist The stage manager needs to be in constant communication with the house manager during intermission. The stage manager announces the same calls to the house manager as he or she does to the Artists as represented in figure 13. The stage manager informs the house manager when intermission is nearly over to make sure that the audience is returning to their seats and that there are no issues either in the house or backstage that will result in a longer intermission.

Bows In some opera productions, the bows are conducted as “page bows”. The main curtain comes in and if the chorus is in the final act they go onstage along with the supers and the curtain flies out and the chorus is presented. If the chorus is not used in the final act, their bow will be at the end of the act in which they are seen. The main curtain comes back in and the chorus exits to the wings and the artists’ page bows begin. The crew pulls the curtain open at the center and the artists enter one by one to bow to the audience, returning behind the curtain after their individual bow. The leading artists will take a group bow and traditionally the soprano will escort the maestro on stage for his bow, then the rest of the leading artists will join the maestro and bow again; bowing as many times as the stage manager feels that they should based on audience reaction. The ASMs will be in the downstage wings cueing the artists to bow or to stop and exit the stage. If the theatre curtain does not have a split in the middle then the bows are conducted in a more traditional manner. The curtain flies in at the end of the show and the chorus,

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supernumeraries, and dancers will assemble onstage, the main curtain flies out and the featured and leading artists will be cued onstage by the stage manager, normally one at a time from both alternate sides of the stage. The artists bow individually and then form a line for a group bow. On opening night, traditionally, the soprano will exit the stage and bring on the maestro and the tenor will leave the stage and bring on the director and designers of the production for a bow. The artists will bow until the stage manager calls the main curtain in. As the director and designers are sometimes in tuxedos these opening night bows can carry the moniker “penguin bows”. Examples of bow calling pages are in Appendix B.

Post Production

Following the bows, the ASMs return valuables to the Artists; the stage manger announces the calls for the next performance over the paging microphone. The stage manager fills out the rest of the performance report and distributes the report. The report is distributed to the Stage Director, Tech Director, Maestro, Production Manager, General Manager, Artistic Director, Assistant Director, ASMs, and crew heads. The stage manager will also post notes from the Maestro or Assistant Director on the callboard or in individual dressing rooms of the Artists. Most Opera Stage Directors leave after opening night, leaving the AD to monitor the performance for artistic integrity. This is a notable difference from theatrical stage management where often stage managers are tasked with keeping the artistic content of the performance intact.

Near the end of the performance run, the stage manager should create an archive of all final paperwork and prompt scores for the production and send it to the Production 62

Manager. By doing this, there is an accurate record of the director’s and designers’ work that may be used for future scenic rentals. During the “strike”, which is when the set is taken down and the load-out of the scenic and costumes elements occur. In some cases, the stage manager or ASMs need to be on hand to make sure that any borrowed props or costume pieces are separated before the rental set is loaded on the truck, or the set going to the company warehouse. The stage manager must inform the Production Manager about these items so that they can be returned at a later time. In many instances the stage management team is not present for strike and leaves following the final production, so these last minute details need to be done prior the end of the production run.

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CHAPTER VII

CONCLUSION

This thesis was undertaken to create an awareness of the differences and nuances of opera stage management for an aspiring theatrical stage manager. This is only one step in to a broader understanding of the components that are involved in the creation of an opera production. As Finley states: It’s a really awesome career choice for someone who loves the business of story telling, and the actual work of collaborating on the creation of something. Add in the musical goose bump moments and you have magic. Collaborating being the key word here . . . you can’t do any kind of theatre without the contributions of everyone, and this is my favorite part of the business. For me, being secure in the knowledge that my seemingly small contribution of perfect bump Q, or landing a final curtain on the cut-off, and knowing it is actually goosing the audience visually even as they are being stimulated emotionally by the music is a real wow factor (Finley). Finley speaks well about the thrill of placing the cue just right in the music, an excitement I have enjoyed many times over my career. Though there are great stresses and challenges in stage managing an opera, the rewards are far greater. This work is not a definitive guide to opera stage management; it does not list step by step instructions for the opera stage management process. Such a guide would be better exemplified in book form and perhaps I will undertake that challenge in the coming years. 64

As this is a first step, there are recommendations for further study. A survey of current theatrical stage managers in college and university programs would offer a different perspective questions about the field of opera stage management. Engaging current theatrical stage management students in an open forum discussion would be an effective way to understand their trepidations and queries about opera. Engaging a panel discussion of stage managers from the top five opera companies in the country through a debate on the field could be valuable commentary on the profession. A gathering of stage managers from each tier level would give a writer a wide range of data and observations about the field of opera. Such a forum could be undertaken as part of an Opera America conference or United States Institute For Theatrical Technology (USITT) conference. I did not have the necessary time to engage such research and through my many discussions over the years with colleagues from all tier levels, I feel confident that this is a necessary course of study for the aspiring opera stage manager. After twenty years as an opera stage manager, I know no greater joy then being in the wings at the console, following a maestro and listening to the subtleties of an orchestra and executing the cues to enhance, in my own way, the excitement and magic of the opera for the audience.

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BIBLIOGRAPHY

Castelopera website. 2015. Web. http://castelopera.com/libretti.asp. Crean, P.J. “The Stage Licensing Act of 1737”. Modern Philology. Vol. 35, No. 3 Feb.1938.Chicago: University of Chicago Press. pp. 239-255. Print. Fidelio piano vocal. Indiana University. 2015. Web. http://www.dlib.indiana.edu/variations/scores/aha1209/sco10010.gif Fidelio orchestral score. Indiana University. 2015. Web. http://www.dlib.indiana.edu/variations/scores/bae7451/sco10021.gif Finley, Brett. Email Questionnaire. 2015. Fox, Margalit. “Thomas H. Connell III, Longtime Met Stage Manager, Dies at 67”. New York Times. April 27, 2010. Web. http://www.nytimes.com/2010/04/28/arts/28connell.html?ref=todayspaper&_r=0 Kelly, Thomas A. The Back Stage Guide to Stage Management. New York: Back Stage Books. 2009. Print. Martin, Nicholas. The Da Capo Opera Manual. New York: Da Capo Press. 1997. Print. New Orleans Opera. Musical Artists. 2015. Web. http://www.musicalartists.org/agreements/NewOrleansOpera.2007-2010.pdf About. Opera America. 2015. Web. http://www.operaamerica.org/content/about/index.aspx “Opera America Annual Field Report”.Opera America. (Winter 2014/2015):45-80. Print. San Francisco Opera. Musical Artists. 2015. Web. http://www.musicalartists.org/agreements/SanFranciscoOpera.2006-2011.pdf Schedule C. Musical Artists. 2015 Web. http://www.musicalartists.org/ScheduleC.Overview.html Stern, Lawrence. Stage Management. Seventh Edition. Boston: Allyn and Bacon. 2002. Print.

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Schneider, Doris. The Art and Craft of Stage Management. Orlando: Harcourt Brace & Company. 1997. Print. Threes.The Book of Threes. Web. 2015. http://www.threes.com/index.php?option=com_content&view=article&id=2038: toi-toi-toi&catid=69:colloquialisms&Itemid=48 Washington National Opera. Musical Artists. 2015. Web. http://www.musicalartists.org/agreements/WashingtonNationalOpera20132016.pdf

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APPENDICES

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APPENDIX A SCORE PUBLISHING HOUSES

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Score Publishing Houses Barenreiter Publishing Group

www.baerenreiter.com/nc/en

Boosey & Hawkes

www.boosey.com

Dover Publications

http://store.doverpublications.com

Kalmus Music Publishers

www.efkalmus.com

Ricordi

www.ricordi.com

G. Schirmer

www.musicsalesclassical.com

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APPENDIX B GLOSSARY TERMS

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A cappella: music with no instrumental accompaniment ± Accelerando: gradually speeding up the speed of the rhythmic beat ± Accent: momentarily emphasizing a note with a dynamic attack ± Adagio: a slow tempo ± Allegro: a fast tempo ± Andante: moderate tempo ± Banda : small orchestral ensemble that is used onstage or in the wings for accompaniment. ¥ Bel Canto: An Italian phrase literally meaning "beautiful singing." A traditional Italian style of singing that emphasizes tone, phrasing, coloratura passages and technique. Also refers to opera written in this style. ¥ Buffo: From the Italian for "buffoon." A singer of comic roles (basso-buffo) or a comic opera (opera-buffa).¥ Bowing: The bow is the wand used to play string instruments. The concertmaster determines when the bows should rise or fall, and this bowing is noted in the score so that all move in the same direction. Cabaletta (cah-bah-LEHT-tah): Second part of a two-part aria, always in a faster tempo than the first part.¥ Cadenza (kuh-DEN-zuh): A passage of singing, often at the end of an aria, which shows off the singer's vocal ability.¥ Catata: composition is several movements, written for chorus, soloists, and orchestra.¥ Coda: a concluding section appended to the end of a work¥ Cavatina (cah-vah-TEE-nah): The meaning of this term has changed over the years. It now usually refers to the opening, slow section of a two part aria. In Rossini's time it referred to the entrance, or first aria sung by a certain character. Norma's "Casta diva" is an example of a cavatina in both senses.¥ Continuo (cohn-TEE-noo-oh): An extemporized chordal accompaniment for recitativo secco, usually by a harpsichord, cello or double bass. Opera seria continuo often used an ensemble of harpsichord and theorbo (member of the lute family). Opera buffa continuo used a single keyboard and string bass. ¥

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Crescendo (kri-SHEN-doh): A gradual increase in volume. Orchestral crescendos were one of Rossini's trademarks. ¥ Da capo: written indication telling performer to go back to the start of a piece ± Decrescendo: gradually getting quieter ± Forte: a loud dynamic marking ± Fortissimo: very loud dynamic marking ± Leitmotif: short musical signature tune; Wagner used many of these in his opera ± Opera Buffa (BOOF-fah): An opera about ordinary people, usually, but not always comic, which first developed in the 18th century. Don Pasquale is an example of opera buffa.¥ Opera Seria (SEH-ree-ah): A "serious" opera. The usual characters are gods, goddesses or ancient heroes. Rossini was one of the last to write true opera serie, such as his last opera, Guillaume Tell. ¥ Patter Song: A song or aria in which the character sings as many words as possible in a short amount of time. ¥ Pizzicato (pit-tsee-CAH-toh): Playing a string instrument by plucking the strings instead of using the bow.¥ Prelude: Usually a short introduction that leads into an act without a break, as opposed to an overture which is longer and can be played as a separate piece. Wagner called his introductions preludes even though some are quite long. ¥ Prima Donna: Literally "first lady;" the leading woman singer in an opera. Because of the way some have behaved in the past, it often refers to someone who acts in a superior and demanding fashion. The term for the leading man is primo uomo.¥ Recitative: Words sung in a conversational style, usually to advance the plot. Not to be confused with aria. ¥ Reduction: In a piano reduction, the orchestra parts are condensed into music which can be played by one person on the piano. ¥ Répertoire (REP-er-twahr): Stock pieces that a singer or company has ready to present. Often refers to a company's current season.¥ Roulade or Run: A quick succession of notes sung on one syllable.¥

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Scena (SCHAY-nah): Literally "a scene;" a dramatic episode which consists of a variety of numbers with a common theme. A typical scena might consist of a recitative, a cavatina and a cabaletta. An example is the "Mad Scene" from Lucia di Lammermoor.¥ Singspiel (ZING-shpeel): German opera with spoken dialogue and usually, but not necessarily, a comic or sentimental plot. Examples include The Abduction from the Seraglio and Der Freischütz.¥ Sitzprobe (ZITS-proh-bah): Literally, "seated rehearsal," it is the first rehearsal of the singers with the orchestra and no acting. ¥ Soubrette: A pert, young female character with a light soprano voice often used to portray an opera comedienne. Examples include Zerlina in Don Giovanni and Zerbinetta in Ariadne auf Naxos.¥ Spinto (Voice type): A lyric voice that has the power and incisiveness for dramatic climaxes.¥ Tessitura: Literally "texture," it defines the average pitch level of a role. Two roles may have the same range from the lowest to the highest note, but the one with a greater proportion of high notes has the higher tessitura. ¥ Through-Sung: An opera in which the music is continuous, without divisions into recitative and aria. ¥ Tragédie Lyrique: Early form of French opera that recognized a distinction between the main scenes and divertissements consisting of choruses, dances, etc.¥ Tremolo: The quick, continuous reiteration of a pitch. ¥ Trill: Very quick alternation of pitch between two adjacent notes. See coloratura. Trio: An ensemble of three singers or the music that is written for three singers. Trouser Role: A role depicting a young man or boy but sung by a woman (can be a soprano or mezzo). Examples include the title role of Ariodante, Octavian in Der Rosenkavalier and Sesto in La clemenza di Tito.¥ Verismo: Describes the realistic style of opera that started in Italy at the end of the nineteenth century. Although the peak of the movement was past by the time of Puccini, his operas are a modified form of verismo. ¥

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Vibrato: A natural wavering of frequency (pitch) while singing a note. It is usually inadvertent as opposed to a trill.¥ Terms marked with ± are derived from http://www.wmich.edu/musgened/mus150/Glossary.pdf Terms marked with ¥ are derived from http://www.operaamerica.org/Content/About/Learn/Glossary.aspx

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APPENDIX C

STAGE MANAGEMENT PAPERWORK

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APPENDIX D

INTERNATIONAL REVIEW BOARD LETTER

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