PROMPT SCRIPT: Assistant Stage Manager Paperwork

[Maribeth]

Something that hasn't come up about this topic is that it's helpful for ASMs to know the blocking for understudy rehearsals. If you have a handful of understudies covering multiple parts, oftentimes it falls on the SM team to walk the other parts- if the ASMs don't have blocking written down, it can be a painful/unproductive rehearsal.

[SMMeade]

Something that hasn't come up about this topic is that it's helpful for ASMs to know the blocking for understudy rehearsals. If you have a handful of understudies covering multiple parts, oftentimes it falls on the SM team to walk the other parts- if the ASMs don't have blocking written down, it can be a painful/unproductive rehearsal.

Absolutely! The last theatre I was at always had understudies cover multiple actors who played multiple parts, so we were almost always standing in for someone. It went so much smoother if we knew at least where to stand in a general sketch sort of way, but because none of the PA-ASMs had ever dealt with understudy rehearsals, it was a bit rough at the start because we didn't have much blocking down. Live and learn, obviously.

[Beatr79]

Excellent point Maribeth, and one that supports my assertion that ASMs should get in the habit of taking blocking.

As an ASM, I have had the responsibility of running full U/S rehearsals myself.  While I generally have had access to the PSM's blocking script, invariably, I use my own book.  I'm more comfortable with my notations, my shorthand, and know which parts are rough sketches of a scene and which parts are 100% accurate (thus informing when I should glance at an archival video for support).

Along the same lines, on long-running shows, the full SM team is responsible for putting in U/S and replacements throughout the run, and often it is just the SMs, dance captain and a new company member in most rehearsals.  As an ASM, yes, you are helping play all those other parts, but (in my experience), it's a team effort, where we all pitch in and help stage "the new guy."  I'll notice the cast member is standing in the wrong spot, give the note / question to the PSM or dance captain to confirm, then give the note to the cast member.  So that means I'm still "learning" the blocking even after a show has opened, while I'm running the deck, calling the show, etc. since I could ultimately be responsible for relaying that blocking to cast. 

[smejs]

Glad to see someone mentioned about being able to stand in for an understudy (or more likely in my case, someone who's missing for a rehearsal - especially for operas with principals rehearsing separate from chorus separate from supernumeraries).

Another reason to know some of the blocking - "light walkers" are often needed to set lighting looks, and it goes a lot quicker if you already know approximately where someone stands for that moment. The SM can adjust you slightly if needed, of course, and it may be done by someone who's never seen the show before, but as ASM you look a lot more competent if you know what they're talking about.