PROMPT SCRIPT: Assistant Stage Manager Paperwork

[margaretheff]

Hi there! I'm a freshman Stage Management student and am Assistant Stage Managing my first show starting in a few weeks. I know what to be expecting for the most part, but I'm wondering what kind of "book" I should be keeping. Of course I will have my script, schedule and contact information. All the basics. But should I keep a binder like I would if I were stage managing? Or should my binder be set up differently? Thanks!

Edit to add topic tag- Maribeth

[PSMKay]

I would recommend doing everything you can to travel light. ASM duties in rehearsal tend to be more active and will often require you to assemble (and enact!) the preset and scene shifts alone. Your SM will be maintaining the big bible including the blocking, so you'll be able to lighten your load considerably. You may even be able to run your script double-sided.

In most cases I used to put my ASM on book, although some SMs like to keep that task to themselves. I would do what you can to keep your script set up for prompting, with line numbers as well as page numbers so you can easily reference flubbed words.

Since you'll be running around perhaps more than a three-ring binder can handle, consider three hole punching, a portable spiral bound script with a bunch of blank paper in the back for the script itself and space for notes. You can remove it as needed and still have space for notes that actors give you while you're doing shifts, and then add them to your more formal shift paperwork when you get back to your station.

[Maribeth]

Talk to your SM about what they expect of you- that will help you figure out what paperwork you need to generate. (Prop preset list, quick change plot, etc). Your book is a way to organize that information- set it up in whatever way is most useful for you to keep track of everything. For me, this means my book as an ASM is pretty much exactly the same as when I SM.

I think it's generally helpful for ASMs to have a thorough understanding of props, costumes, anything to do with running rehearsal, and anything to do with running backstage. But on some shows, I might want an ASM to track script changes, projections, run rehearsal sound cues, or any number of other things- it really depends on the show (and how many ASMs there are). I also like to have my ASMs to have some idea of the blocking- even if they are not primarily responsible for it, it can be helpful for any number of other reasons.

I keep frequently used documents in clear plastic sheet protectors- like the daily schedule, contact lists, etc- easy to grab. Anything that I need to carry around during rehearsal (like a prop preset or running list) I stick onto a clipboard. I've spiral-bound an opera score before but never a script- it did help a lot in rehearsals where I was literally running back and forth cueing entrances.

[ejsmith3130]

As an ASM I usually start my Book the same as I would if I were SM. It is important to be flexible as ASM, and even if your book tends to not have all the information as the SM book, you should be able to access any paperwork or information about the show. I look to my ASM's as my right hand man, and if I can't cover soemthing I want them to be prepared to handle it. Especially if you are doing a musical or large scale show that might have simultanious rehearsals where you will be in one room and your SM in the other.

It is better to be prepared for the most amount of work and information, rather than not have what you need to do your job. Talk to your SM for sure and see what she/he says too- if you are at a university, I'm sure they have been in your position too, and would be glad to let you know what works best for the style of the department you are in. A quick e-mail or phone call will clear a lot of things up.

Good Luck!

[Cedes]

I agree with the travel light idea. When I am asm-ing, I usually try to keep all backstage-specific paperwork onhand at all times, and ready to be edited as needed (I work a lot from my ipad, so I have all of them in a way that I can "write" on them and then actually create them when I am back at my laptop. I also have at least one copy of the script in both digital and hard copy forms for being on book and keeping track of line and script changes (I do a lot of Shakespeare). I usually also have a copy of that day's schedule and weekly on hand so I can answer basic scheduling questions if the SM is busy.

[SMeustace]

I know this post is over 2 years old and I couldn't find a similar topic on the boards.

As an ASM are you ever expected/requested to record the blocking. When I SM, i feel that 2 or 3 people recording blocking may not be necessary. I prefer my ASMs to track props/costumes and other tracks than record blocking as I don't understand why have three versions of blocking exist (which may differ between them). I like to work under the "kill 2 birds with one stone". I feel as though if their attention is on doing something I'm already doing then they'll miss the things that would affect them while they're on the deck. (Maybe also missing vital paperwork notes? etc..) I feel distributing tasks is better than all of us doing the same thing and not making much of a dent on the to-do list.

That way while I'm recording blocking the ASMs can note props and be more mobile presetting/moving pieces in rehearsal as needed.

For shows with larger casts, I do ask the ASMs to assist me in recording blocking and we divide the cast among us and each of us are responsible for the blocking of those we are assigned. I then ask to borrow their blocking notes to put them in my script outside rehearsals.

Do you record blocking anyway even if you aren't asked as a personal preference (i dont mean just recording entrances/exits)

[iamchristuffin]

I have been asked in the past to keep blocking, with the 2nd ASM and PSM doing the same. We amalgamated at the end of each day, checking we were all on the same page. The PSM's train of thought was that it was a big company with a LOT of movement, and a) it would ensure they got the most up-to-date blocking, and allowed us as ASMs to answer blocking questions in the wings if necessary. We worked under the 'everything will get covered by someone' process, rather than separating the company into sections to each track - which worked fine for us.

In the end, I didn't use that much blocking. I knew what was happening, and I didn't refer to it at all once we were onstage. I did find it useful when props tracking, as I had more detailed notes that I have in the past. Since then, I have continued to track blocking when it affects props (or Entrances/Exits), and I believe I'm better because of that.

[BayAreaSM]

When I would ASM, I only noted entrances/exits and where the props were moving around the stage.

The only time I asked an ASM to take blocking for me was when we split rehearsals (we had 2 directors) and I needed someone to watch the other rehearsal. Unfortunately, they didn't take any blocking of value and we were lost when the rehearsals combined. In hindsight, had I known their blocking notation skills weren't that strong, I would've asked them to take more blocking notes prior to that split, so that I could help them be more effective in the future.

Unless it's a big scene with too much to make note of, I may ask for help on tracking entrances/exits while I try to get all internal blocking myself.

[Maribeth]

I often ask ASMs to track some blocking, minimum entrances and exits. The reason being that I find it frustrating when ASMs who have been in rehearsals have no sense of what's happening onstage. (I have seen this happen too many times).

I keep my own set of blocking notes, but blocking ties in with props tracking and costumes tracking- if you haven't written any blocking down, then you likely don't know when/how an actor interacts with a prop. Entrances/exits are a big part of costume changes, so at minimum, I like the ASM tracking costumes to have those.

I'm always fine with ASMs double checking any questions they have about entrances and exits or any other blocking against my blocking notes.  What I'm not okay with is having an ASM who is tracking costumes (for instance) on a not-very-costume-heavy show, sitting in the rehearsal room taking no notes, and then later having to ask what the blocking is to make their paperwork.

[MatthewShiner]

I agree . . .talk to your PSM.

I tend to work with large teams (packs of stage managers), and often delegate EVERYTHING to the ASMs.  (I haven't taken blocking on a production in over ten years).  But, every time I work with an new ASM on a new project, I try to figure out who will do what.  What's important on the show, what's special, etc - and divide up duties accordingly.

[Beatr79]

Ok - so I'm not going to repeat opinions already expressed above, but I'll admit: I come from the school of thought that ASMs DO take blocking, sometimes in addition to, or the exclusive of, the PSM.   I've been doing it so long this way that it is my default style in any given show, regardless of my position, and I can comfortably track blocking, prop notes and entrance-exits for a large musical all at the same time.  Sometimes it's stressful for sure, but practice has trained me some tricks to get by.

So here's my question: I've encountered a lot of younger SM types who have casually articulated the thought that ASMs don't do blocking...is this something that's been taught in school?  Picked up along the way by your PSMs?  I just don't understand how you could be in a world where you aren't practicing / honing a tricky skill like blocking on a regular basis, but then, when you get your PSM gig (or an ASM gig like Matt describes), just be able to just do it on demand, and be successful in supporting the room / process.

[SMeustace]

I am mostly asking because I will be SM'ing Almost Maine for my university in a few months and will be working with an ASM who has only ASM'd a small-scale play part of a student director showcase. She was my ASM for the show we worked on together. Almost Maine will be her 2nd time ASM'ing but has lots of experience as a stagehand/shift crew. I discovered that she relied heavy on memory but when she became very stressed when there was a lot to do and things going on- she started to forget a lot of things like presets and shifts.

I am thinking of delegating prop & tech tracking (scene shifts and backstage duties) and record entrances and exits to my ASM while i prepare costume change plots and record interior blocking. This can help us split work load between the two of us. The transitions would probably most likely be done by the actors. Having her record shifts she'll be on top of them so she can help remind cast to what their shift jobs are and maybe prepare cheat sheets as she will be the one running the deck for tech/perfs.

For the "ASMs not recording blocking"- I believe It may be easier for SM teams to breakdown blocking that SM records principles and small # of chorus while the rest of the chorus is split between the ASMs.  I never been part of a SM team that the SM delegated recording blocking to an ASM as MatthewShiner has described.

I appreciate and love hearing any and all input.

[PSMKay]

I never took blocking as ASM. I was never even allowed to sit at the tech table. I was deck crew in rehearsal, plus prompting once off book. One SM didn't give me a script for the first few weeks with the rationale that the crew reading my run sheets wouldn't have scripts either.

[Maggie K]

I'm in the camp of having ASMs track entrances/exits and anything that affects props, costumes, or scenic moves.  And then be prepared to assist taking blocking with large cast scenes or in split-rehearsals.

That said, I think there may be some value in having a younger, less-experienced ASM do some blocking notes for a scene or two so that they can learn for the times that they will be required to do so.  So much of stage managing is learning by doing, that I think it's important to offer the opportunity for a hands on experience while there is still the safety net of an experienced PSM.

[Joshua S.]

When I ASM, I sort of have a hierarchy of what is important for me to have/do.  Entrances/Exits are crucial so I can take care of prop and costume tracking.  Blocking is usually less crucial for me to have in my book.  I do need to know blocking that affects furniture and props so that I can set for the top or middle of a scene, however, if I don't get every cross written down, it's not the end of the world IMO.  The blocking I record as an ASM is more about knowing the area the scene is played in than about being able to recreate every movement.