Honestly, in my opinion there isn't much to run per se. Design meetings are for the director and designers to talk and bounce ideas around and hear potential pitfalls. The only thing I've ever really done in design meetings is set an agenda (Sets, Lights, Costumes, Sound, and Props usually...others as needed). Beyond that, all I ever really do is wrangle conversations if they go off the tracks. Also preventing side conversations. Side conversations in design meetings are no good because people are having conversations that potentially more people need to be hearing.
Arrange a meeting with the actor, director, stage manager, picky actor/ professor and yourself. Let picky actor bring up concerns and have a discussion. Remember, it's unwise and unprofessional to challenge a director in the room repeatedly especially when you're trying to teach students how professional plays work. This picky actor probably wants to talk to their colleague about this but may not know how to broach the subject.
If you present this to the Sm and director as a conversation you'd like input on, the final decision will still rest where it always belongs: the director, but now the picky actor may have a better understanding as to why it is the way it is.
Something to mull over in your head: actors who react poorly about props are occasionally uncomfortable somewhere else in the production. They will elect to try to control something (ie props) to regain a modicum of control.
Directors can be in the booth all they want but only if they are silent IMO. I don't want to hear an exasperated sigh, nor do I want on the fly notes.i am my own worst critic already and I know when a sequence goes wrong. I've never cared for directors who work this way. In my early career, i once asked a director why he doesn't go up during a performance to give the cast notes and asked for the same respect during a run. You'll be shocked to know that didn't go over well.
you can't be argumentative because it gets you nowhere and will only make the director push harder. Offer them a spot in the booth with the condition that you'll take notes following the performance. You'll be happy to discuss it after the fact but during the run is not the time. If they aren't willing to give you that respect, they can't be in the booth. Is not fair to you to have the director breathing over your shoulder during a run. Especially if you're open already. If you're open and they are critiquing you on the call of the show now they obviously didn't do a good enough job communicating their desires during tech, or you misinterpreted their notes during tech.
This happens to me all the time in my current job. String of emails back and forth between a customer and then suddenly I need to loop a vendor into it. In those cases, I delete the string unless I need the information contained to ask a question or illustrate a point.
If the negative criticism was unnecessary to the conversation you were having with your administrator, they should have removed it. If I'm forwarding that conversation on, I would certainly delete it.
Since everyone seems to be in agreement I wonder what the student SMs would do if the cast basically says screw you, we're doing it anyway. Just to add another wrinkle to this issue. Maybe even after the show starts, they just hijack it and do their own thing.
Don't mean to change the terms of the question, but I'm curious how people would react.
You should write a contingency for the North Koreans launching a nuclear assault, zombie apocalypse, and the rapid release of gravimetric pressure.
Hey....they could happen during your show!
As for specifics...I think you've got the right basic idea not mapping out everything:. Impossible. I'd go with the SL, SR procedures. Maybe the best way to go about it is ask the producer which situations they can think of that they'd like you to have procedures in place for and develop those.
The major ones, family weddings...funerals...but I gave up my health to theatre most of all.
Late hours, no sleep, living off caffeine and energy drinks, midnight $1 a slice pizza, frozen dinners, thousands and thousands of cigarettes, alcohol to numb a bad tech, alcohol to celebrate an opening, unhealthy relationships....I've lost my pinky toe nail, done nerve damage to my left elbow, hyper extended my right one multiple times, worn down my knees, nearly crushed all the fingers on both hands, electrical shocks, burned, cut, splinters etc...
I thought when I left to sit behind a desk I would miss it. I found that I just don't. My swan song production to me was the best way to cap my career and that part of my life. I was the calm center in a sea of chaos, adapted to severe technical difficulties Etc etc. I was sad because I finally felt every thing click for me as a stage manager and I would be walking away after and what could be now that I had this revelation.