Hi, I’m Martha Donaldson and I’m a stage manager.
[MUSIC] The stage manager is the central focal point for the show as far as being
the conduit between the director and the actors and like the actual physical
production. And all of the people who make the
production happen, the designers, the, all the production departments; and
everything ideally flows back and forth through the stage manager.
I’m with the production from the very beginning all the way through the final
day of the run. I got it in my head that I wanted to work
on “The Bacchae,” and so I asked the public theater if I could do it.
And so, here I am. “Do you have the Dionysus entrance music?
Here we go. This production is very exciting because
Joanna Akalaitis is the director. When I first heard about it, I knew it
was going to be a very big, challenging theater project.
Joanne does very evocative, provocative work.
[SOUND]>>Look on me[CROSSTALK]>>The stage manager is there to really assist the director in making their
vision come to life on the stage. [LAUGH]>>Joanne did you want to say one word about
the Sids Pro?>>That’s actually the the aspect of stage managing with Stephan, is that you are so
integral to what is going on right there[LAUGH] under the director.
Usually, after the director leaves the stage manager’s the one who is
responsible for making sure that the show maintains the, the original vision and
concept of the director. So, that relationship is very important
and very symbiotic. Here we go, from the Holy music of the
pipe. Stage manager’s kind of driving the
train. I keep the rehearsal on time, I take
notes of what happens in rehearsal. you know, I stop us at lunch when we need
to stop. I make sure everyone comes back, I get us
started again and then I stop us at the end of the day.
Let’s take a 10 minute break, everybody. I love my cast.
Number one, a good stage manager has to have a personality, it’s really key.
But it doesn’t hurt, It’s inflatable. It can be serious and I can keep things
under control. But, you know, I can be pretty goofy in
rehearsal. And I think that it’s important to do
that. Because you know, theater is all about
having fun. I’m going to my table.
Working in the park is fantastic. It’s a New York City tradition and it’s
so cool to be part of it. Just doing this because it’s outdoors is
a completely different experience from doing something indoors, first of all.
But also this begins and then it closes It changes everything about the way you
feel about the show. You want to make it as good as you can,
and then you want to plan for what you’re going to do when it’s over.
I like the tech rehearsal. That’s my favorite time, because it’s
really my time to really, like, be in charge of everything.
To the hills, that’s all I need to get us into this scene.
And it’s a lot of work and a lot of hours and very challenging as far as how you’re
going to get all the puzzle pieces to go together.
but that is what I like the most. And I, and I, I like theater for its
weird, crazy, long hours. I mean, that’s just part of it, part of
an aspect of what I like. And we’re going to move on to Cadmus and
Teiresias, Pentheus as soon as.>>[SOUND] I do enjoy the dance.>>This is the other thing that I do in rehearsal is that I write down the, what
we call blocking of course. Which is the movement of the actors on
stage. I usually have what you call your
blocking script, and then you have your call script, which is where you put all
the cues in. because when you get into technical
rehearsals, the stage manager is also responsible for you writing down all of
the light cues, all of the sound cues. We have pyro cues in this show, scene
cues, all of that stuff. That was a thunder go?
You see my, that’s one aspect of, of the stage manager.
That first I run rehearsal and then I run the show.
So I’m you know really in the, in the mix the whole time.
At 7:30 I check in with the house manager.
I open the house. We’re ready to open.
Go for it. Joanna I’m opening the house.
Okay, rock it. That’s it, house open.
And then I go into the booth. Ladies and gentlemen of the Bachae, it’s
7 o’clock, this is the one hour call. And then, you know, at 8 o’clock, or so,
I get the house from the house manager. Five minutes for Johnathan MacGraw.
The stage manager is really[MUSIC] like, okay, we’re going now, places, lights go.
The stage manager is making it happen, lights, go. [CROSSTALK] Lights 123, go.
[MUSIC] Go. Nice.
What makes it rewarding is ultimately creating a show that’s awesome and that
people love. Ladies and gentleman, congratulations, I
will see you tomorrow, thanks everyone, great job. [SOUND][NOISE][NOISE]