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2020 is the year of the Stage Manager, so this is the perfect time to talk about how I get the most out of my Sound Designer/Stage Manager relationship! The Stage Manager is the one person that probably knows the most about the show and the actors. They are also the one who is going to make sure your design is executed exactly as planned at each and every show. Basically, the Stage Manager is someone you really want in your corner, so I want to go over just a few of the ways my relationship with Stage Managers has been beneficial.
I’m stating this, maybe obvious (to some) fact, because it just doesn’t happen a lot. Frankly, I’m still beating the “LIST THE SOUND DESIGNER IN YOUR POSTS” drum loud and hard, because that title is also one that is often left off…. I guess because you can’t see that design in a photo. So if I have to constantly remind people that Sound Designers are part of the creative team and need to be listed in posts, I can’t imagine how much harder that fight is for Stage Managers. Let’s just think about it for a minute though. What defines a creative team? Surprisingly, I couldn’t find a succinct “Theatrical Creative Team” textbook definition, but I did find this “Advertising Creative Team” definition from smallbusiness.chron.com, and honestly, it totally fits:
A creative team is made up of several key members, starting with a creative director, and including copywriters, editors, graphic designers and artists, and web developers. In short, it’s the group of people that comes up with the advertising ideas and brings those ideas into being.
This is basically the same for theatre, right? The Director, Choreographer, Music Director, and Designers are the key members that come up with the ideas and bring those ideas to the stage. But from the first concept meeting, the Stage Manager is also there. They are running the meetings, taking notes, and sending those notes out to the team. The Stage Manager is keeping track of all of the action that’s going on in rehearsal and keeps the rest of the team updated daily.
They will remind the director of Designers’ ideas, and likewise, let Designers in on things that might help or hurt their design idea—like informing a Sound Designer that a group of actors are constantly blocked to be in a place where a speaker was going to be. They are the ones firing sound cues in rehearsal and reporting on how it was received by the director, and any good stage manager will practice calls over and over until their “GO” lands at that perfect swell in the music that will ensure every audience member leaves feeling all the feels.
They have every right to be recognized as part of the creative team, and basically, what I’m saying is that the more we openly recognize that fact with our Stage Manager friends, the better the working relationship is going to be.
I mentioned that the Stage Manager probably knows more about the actors than anyone else. This is really useful to the Sound Designer of a musical. For years, I would make my plans about which microphones to use, which lavs to put on actors, what I would use to change the color of the lavs if needed, what kind of tape or other attachment method to use, and which style mic belts to assign well ahead of tech on my own.
Many times over the years, I would run into situations where I was changing tape on an actor because they were allergic to what I was using, or switching out a mic belt because of a blocking direction that was just given, or what have you. It was frustrating, and would often create a domino effect if I was short on equipment or supplies. I soon learned that consulting the Stage Manager while I was preparing these plans alleviated a lot of those issues for me before I even met the actor. The Stage Manager would not only know the nuts and bolts information, like allergies and blocking, but also more personal things, like actor preferences: This actor likes to wear the lav on the left side of the face, that actor has their own mic belt, etc. Once I realized that I could unlock that info ahead of time, it was a definite level up for me.
There are sometimes situations in which microphone and lav placement are very specific, and I’ll tell a Stage Manager that if this position moves an inch one way or the other, the sound will change. Many of the Stage Managers I’ve worked with in the past take that information very seriously and will note actors throughout the run for the sake of the design and the production. I’ve also worked with Stage Managers in the past who, during rehearsal, will bring up things I’ve said in the past about which circumstances give us the best sound quality if it looks like the Director is blocking actors to be somewhere or do something that is not conducive to excellent sound quality. Because I like to keep a line of open communication between myself and my Stage Managers, I’m able to count on them to be my voice, even if I’m not in the room.
I want to know that they care as much about my design as I do, and will give their all every night to make sure that it is executed perfectly. I think that as Designers, we can sometimes feel overprotective of our work, and it’s sometimes hard to remember that the questions, the emails, the regular check-ins from a Stage Manager are all in pursuit of the same goal as us—a perfectly crafted piece of theatre.
Article by SoundGirl: Elisabeth Weidner
Another great article by SoundGirls: More Than Line-by-Line: Mixing Sound
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The mission of SoundGirls.org is to inspire and empower the next generation of women in audio. Our mission is to create a supportive community for women in audio and music production, providing the tools, knowledge, and support to further their careers. SoundGirls.Org was formed in 2013 by veteran live sound engineers Karrie Keyes and Michelle Sabolchick Pettinato and operates under the Fiscal Sponsorship of The California Women’s Music Festival, a 501(c)3 non-profit organization. In 2012, Karrie and Michelle participated in the “Women of Professional Concert Sound” panel at the AES Conference in San Francisco. The panel was hosted by the Women’s Audio Mission (WAM) and moderated by WAM founder Terri Winston. Terri brought together five women working in live and broadcast audio. The groundbreaking panel (which also included Jeri Palumbo, Claudia Engelhart and Deanne Franklin), provided young women and men a glimpse into life on the road, tips and advice, and a Q & A with the panelists. More importantly though, was how incredibly powerful the experience was for the panelists. We had all been in the business for 20 years or more, yet most of us had never met before that day and within minutes we bonded like long-lost sisters. We were struck by how similar our experiences, work ethics, and passions were and wondered why our paths had never crossed and how our careers would have been different had we been there to support each other through the years. Each of us are strong on our own, but together we were even stronger and a powerful force. We were empowered. Each of us had been asked hundreds of times in our careers: Are there other women doing sound? How did you get into sound? How would a young woman go about getting into sound? Through creating SoundGirls.Org, we hope to establish a place for women working in professional audio to come for support and advice, to share our success and failures, our joys and frustrations, and for empowerment and inspiration.
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