Production Management: Making Shows Happen, A Practical Guide by Peter Dean
Check out this book - I was in the same boat and working with this (though Canadian) is not as obvious as the Kelley book for SMs, it is slowly becoming more apparent to me why it's useful. At least it can begin to guide you on your way.
Also - check in with the AD and have a meeting to discover what s/he expects from you as a PM. every theatre is different, jsut as you learned when you were SMing.
What I notice is:
As a PM
GENERAL - I manage the SMs and make sure that they have all they need and are reporting what the company and team needs to know from the rehearsal room. I check in with designers regarding rehearsal reports and what's being done. Keep meetings short and to the point, everyone is busy and will appreciate it.
SPECIFIC [to my theatre] - (Regional/non-union)
1. Meeting #1 - meet and greet, words from director, contracts handed out.
2. Meeting #2 - Into of new people, collect contracts, sketches, design discussion
3. Meeting #3 - Models and final sketches presented
4. 1st Rehearsal/presentations to cast
5. Designer Run of show/meeting to follow
6. Designer Run of show/meeting to follow
7. Tech week/ meetings after rehearsal
8. Previews - Meetings following if needed, generally set/props/costume are the stragglers at this point.
*I don't have checklists until I know what the designers need/are missing/haven't completed.
*I do plan meetings and create agendas based on the discussions I have with designers outside of our meeting.
*I do plan the build with the tech director and the strike as well (we have a tight turn around)
*I created some spreadsheets in Excel that I based off of the book mention and some others based on another PM's work. It's basic budgeting and knowing how to use formulas.
*I create the production calendar and make sure it is timely and complete. (Don't forget marketing, I somehow forget marketing and they always want photos or interviews...)
*Everyone is going to ask you when somehting is going to be complete, keep a weekly check in with your designers so yuo're on top of everything. It's like being on top of a rehearsal room (Props, set pieces, bodies, TIME) but in a different scale. (Set/Costume/Prop build, sound/light design, budget, TIME)
*Ask for receipts as soon as you can get them (sometimes costume and props hold these because of so many returns). And keep your budget spreadsheet up to date. Set will always go over at the last minute (as will props) because the director changes his mind or suddenly realized how ugly puce is. I suggest keeping a reserve in your designer budgets for this purpose. If you have given the, $1200 for building the set, keep $200 out and let them know they have $1000. Now you have a cushion when the puce needs to be painted black and you don't have any black paint...keeping you kn budget!
That's all I can think of off the top of my head, let me know if there are other questions I can answer...