If you have ever watched a show run like clockwork and wondered who was actually holding it together, the answer is almost always the stage manager. They are the person who knows where every prop lives, who calls every lighting change, and who decides whether the show goes up on time. Most audiences never see them. Most casts could not survive a week without them.
In am dram the job is even bigger than it sounds, because a society rarely has the full professional team. One stage manager might be doing the work of three people, with a couple of volunteers on the crew and a rehearsal schedule squeezed around everybody’s day job. So this guide covers what a stage manager does in a professional theatre, how that shrinks (and stretches) in an amateur society, and what you can do as a performer to make their life easier.
If you are new to how a production is put together, it is worth reading my guide to who does what between the director and the producer alongside this one. The stage manager sits right in the middle of those two jobs.
What is a stage manager?
The short answer
A stage manager runs the practical side of a production, from the rehearsal room to the final curtain. The director decides what the show should look like. The stage manager makes sure it can actually happen, night after night, safely and on time.
The Royal Shakespeare Company puts it neatly: the stage manager oversees everything going on in the rehearsal room and onstage, passes that information on to the technical departments, and during performances, “the buck stops with them”.
Stage manager vs director vs producer
People mix these three roles up all the time, especially in smaller societies where one person sometimes wears two hats. Here is the simplest way I can put it.
| Role | Main question they answer | When they are busiest | Who they report to |
|---|---|---|---|
| Director | What should this show be? | Rehearsals | The society or producer |
| Producer | Can we afford it, and is it organised? | Before rehearsals start, and around show week | The society committee |
| Stage manager | Can it run, safely and on time, every night? | Production week and show nights | The director in rehearsals; in charge once the show is running |
Once the show opens, the director usually steps back. The stage manager does not. They are there for every performance, and they are the person in charge backstage.
Why every am dram show needs one
You can put on a show without a stage manager. You just should not. Without one, the director ends up chasing props, the cast ends up guessing their entrances, and the lighting operator ends up waiting for a cue that nobody gives. Every one of those jobs lands on somebody. A stage manager makes sure it lands on the right person, written down, in advance.
I am directing for the first time at the moment, Now That’s What I Call a Musical! with Erewash Musical Society, and the biggest surprise so far has been how many non-obvious questions come up. I have had to reach out for information again and again. A big part of a stage manager’s job is making sure the answers to those questions are written down, shared and acted on, so nobody has to ask twice.
A short history of stage management
Prompters and bookkeepers
Stage management is far older than the job title. According to the history of stage management on Wikipedia, Sophocles is described as the first known stage technician, and in ancient Greece playwrights usually handled production themselves.
In medieval performances, a figure called the “conducteur de secrets” looked after the money at the door and also acted as a prompter, holding the script and feeding performers their lines. In Elizabethan and Jacobean theatres, two roles covered the work: the stage keeper and the bookkeeper. The bookkeeper kept the stage script, copied out lines for the actors, marked entrances and exits, kept track of props and cued props and sound effects. If that sounds familiar, it should. It is most of a modern deputy stage manager’s job.
The stage manager arrives
Stage management emerged as a distinct role in the 17th century, and it was in 18th century England that the term “stage manager” came into use. Over the following centuries, as shows grew more technical, the work grew into a whole department rather than one person with a script.
The modern team
Today a professional production in the UK will usually have a stage management team rather than one stage manager. That team, and how it maps onto a typical am dram society, is where things get interesting.
The stage management team: SM, DSM and ASM
Stage manager (SM)
The stage manager leads the team. They oversee the rehearsal room and the stage, keep every department talking to each other, and take charge of the show once it starts. The Prospects job profile for theatre stage managers lists duties including calling actors for rehearsals and performances, writing show reports, supervising the get-in and get-out, managing props and taking charge of the show once it begins.
In a professional company the SM is often the person juggling budgets, schedules and people, while the DSM and ASMs handle the detail.
Deputy stage manager (DSM)
The DSM is the person most actors spend most time with, because they are in the rehearsal room alongside the director for the whole rehearsal period. According to Get Into Theatre’s guide to the deputy stage manager, the DSM follows the script, writes every technical cue into it and records blocking, prop journeys and script changes during rehearsals.
Then, in performance, the DSM “calls the show”. They call “go” to cue the lighting, sound, special effects and scene changes. In UK theatres it is usually the DSM, not the stage manager, who does this. That is one of the biggest differences between British and American practice.
Assistant stage manager (ASM)
ASMs look after props and, in rehearsals, costumes too, working alongside the other departments once the show moves into the theatre. They set the stage, run scene changes, hand props to actors in the wings and generally keep backstage moving. Wikipedia notes that an ASM may also manage backstage technicians and call some cues, and needs to be able to step in if the stage manager cannot.
How the team shrinks in am dram
Here is the honest picture. Most amateur societies cannot field a full professional team, so the jobs get combined.
| Job | Professional theatre | Typical am dram society |
|---|---|---|
| Leading backstage and safety | Stage manager | Stage manager, often also doing the DSM job |
| Rehearsal notes and the prompt book | Deputy stage manager | Stage manager, a dedicated DSM, or a prompter who joins later in rehearsals |
| Calling cues in performance | Deputy stage manager | Whoever has the book: the SM, a DSM, or sometimes the lighting operator taking their own cues |
| Props | ASMs plus a props department | ASMs, crew, or cast members bringing things from home |
| Scene changes | ASMs and stage crew | Crew, ASMs and quite often the cast in blackout |
| Get-in and get-out | SM supervising crew and technicians | Everyone, including the cast, on a Sunday morning |
None of that is a problem as long as everyone knows who is doing what. Prospects makes the same point about professional work: on smaller shows, a stage manager is likely to work on their own.
UK vs US stage management
If you read American theatre websites, the titles can be confusing. In the US, “stage manager” is more of a generic title. Bigger shows have a production stage manager (PSM) with assistant stage managers under them, and the stage manager typically maintains the prompt book and calls the performances. In the UK, the DSM usually calls the show while the SM runs backstage. Neither system is better. Just check which one a guide is describing before you copy its advice.
What a stage manager does, from read-through to get-out
Before rehearsals start
A good stage manager starts work before the cast does. Typical early jobs include:
- Reading the script closely and making a first list of props, scene changes and practical effects.
- Meeting the director, producer and any designers to understand the plan.
- Working out the rehearsal space, storage and access to the theatre.
- Building contact lists and making sure everyone knows where and when rehearsals are.
- Starting a risk list: anything involving height, fire, water, weapons, haze or quick changes in the dark.
In the rehearsal room
This is where the prompt book is born. The stage manager (or DSM) sits with the script and records everything: who moves where, which props are used, which lines have been cut, where the director wants a sound effect. They also mark out the set on the rehearsal room floor with tape so the cast rehearse in the right space.
After each rehearsal, many stage managers send out a short rehearsal report. It lists anything that affects another department: a prop that needs to be bigger, a costume that needs a pocket, a moment where the lighting needs to change. It sounds like admin. It is actually what stops a society discovering in tech week that nobody knew the sword had to break.
Production week: get-in, tech and dress
Production week is where a stage manager earns their reputation. The get-in is the moment the set, lighting and props move into the theatre, and the stage manager coordinates it. Then comes the technical rehearsal, where every cue is run in order, often stopping and starting many times. The DSM (or whoever has the book) calls each cue, the operators set their levels, and the stage manager makes sure scene changes are possible in the time the music or dialogue allows.
Then the dress rehearsal runs the show as if it were a performance. Get Into Theatre notes that the DSM helps coordinate the tech and works with the stage manager on the dress. In am dram, where tech and dress are often squeezed into one long evening, the stage manager is usually the person deciding when to push on and when to stop and fix something.
Show nights
On show nights the stage manager is in charge backstage. They check the stage is set, that props are on their tables, that the cast are in the building and that front of house is ready. Front of house is always waiting on one question: are we going up on time? The stage manager answers it.
During the performance they watch for problems, deal with anything that goes wrong and decide what happens if it does. Afterwards, many write a show report noting the running time, any issues and anything that needs fixing before the next performance.
The get-out
The last job is taking it all down. The get-out after the final performance is supervised by the stage manager, who makes sure hired items go back, borrowed props find their owners and the theatre is left as the society found it. In am dram this often happens straight after the final show, with the whole company pitching in.
The prompt book: the stage manager’s bible
What goes in it
The prompt book (also called the prompt copy, prompt script or simply “the book”) is the master copy of the show. Prospects describes it as noting actors’ moves and cues, and the requirements for props, lighting and sound. If the stage manager were run over by a bus, someone else should be able to pick up the book and run the show.
A typical prompt book includes:
- The script, usually one page per sheet with a blank page or wide margin beside it.
- Blocking notes for every scene.
- Every lighting, sound and scene change cue, numbered and placed against the exact word or action.
- Contact lists, rehearsal schedules and the running order.
- Props lists and setting lists for each scene.
Blocking notation
Blocking is written in a shorthand that every stage manager seems to tweak. Stage directions are given from the actor’s point of view facing the audience, so “stage left” is the actor’s left. Common abbreviations include DSL (downstage left), USR (upstage right) and X for “crosses”. The key is that the notation is consistent, so anyone reading the book can follow it.
Cue placement
Each cue is placed against the exact moment it happens: a word, a breath, a move or a beat of music. In musicals, cues are often marked in the vocal score as well as the script. It is fiddly work, and it is why the person with the book needs to be at rehearsals early, not just in production week.
Calling the show: standby and go
How a cue call works
Calling the show means giving the instruction for every technical change, live, during the performance. A cue call usually has two parts. First a warning, “standby”, so the operator is ready. Then the action itself, “go”, at exactly the right moment. For example, the caller might say “Standby lighting cue 12”, wait for the operator to confirm they are ready, and then say “Lighting cue 12, go” on the right word.
The rule of thumb is that “go” comes last, because nobody should act until they hear it. Some societies run simpler systems, with operators taking their own cues from the script. That can work on a small show, but on anything with a lot of changes, one calm voice calling everything is far safer.
Show calls: the half, the quarter, five and beginners
Before a performance, the stage manager (or DSM) gives a series of calls to let the company know how long they have. UK theatres traditionally use these:
| Call | When it is given | What it means |
|---|---|---|
| The half | 35 minutes before curtain up | Everyone should be in the building and signed in |
| The quarter | 20 minutes before curtain up | Get on with costume, make-up and mics |
| The five | 10 minutes before curtain up | Nearly there, finish getting ready |
| Beginners | 5 minutes before curtain up | Anyone on stage at the start goes to their position |
Yes, the timings look odd. They are counted to the beginners call, not to the curtain, so “the half” is half an hour before beginners. Some am dram societies adjust the timings for their venue, so always check the call times on your own schedule.
Cans and comms
“Cans” are the headsets the stage manager, operators and crew wear to talk to each other during the show. In a small venue they might be replaced by a cue light, a hand signal or a very careful wave from the wings. Whatever the system, the stage manager is responsible for making sure everyone who needs a cue can hear or see it.
The skills a good stage manager needs
Organisation
This is the obvious one. A stage manager keeps lists of lists, and they keep them up to date. Props, setting lists, contact sheets, schedules, risk notes: if it matters to the show, it is written down somewhere the stage manager can find in seconds.
Calm under pressure
Things go wrong in live theatre. A prop goes missing, a quick change overruns, a cue fires early. The stage manager’s job is to fix it without the audience noticing and without the cast panicking. A steady voice on the cans is worth more than any amount of technical knowledge.
Communication
The stage manager talks to everyone: the director, the musical director, the designers, the crew, the cast, front of house and the venue. A lot of their value lies in making sure information reaches the right person before it becomes a problem.
Diplomacy and authority
In am dram, the stage manager is often asking volunteers to do things. They also have to tell people, sometimes people much more experienced on stage than they are, that they need to be quiet in the wings or back in the dressing room. Doing that firmly and kindly is a real skill.
Health and safety awareness
Backstage can be a dangerous place, with low light, moving scenery and people rushing. The stage manager keeps an eye on clear walkways, glow tape on steps, safe storage for props and anything involving height or naked flame. If children are in the cast, there will also be licensing and chaperone arrangements to follow. These are set by your local council, so check their guidance for your area rather than relying on what another society did.
How performers can help the stage manager
In rehearsals
- Turn up on time and tell the stage manager, not just a friend in the cast, if you will be late or absent.
- Write your blocking in pencil and keep it up to date.
- If the director changes a line or a move, check the stage manager has caught it too.
- Treat the taped floor markings like real walls and doors.
With props
- Never take a prop home unless the stage manager has said you can.
- Return every prop to the props table, in its marked space, every single time.
- Check your props are set before each performance, even if you trust the ASM.
- If something breaks, tell the stage manager straight away, not after the show.
Backstage
- Be at the theatre by the half, and sign in if your venue uses a sign in sheet.
- Stay quiet in the wings. Sound carries, and the stage manager is listening for cues.
- Keep your phone away from the stage. I have written about phones in theatre before, and backstage is no exception.
- When the stage manager says “beginners”, go. Do not finish your conversation first.
All of this sounds small. Together it is the difference between a stage manager who can watch the show and one who spends every night firefighting.
How to become a stage manager in am dram
Start as crew or an ASM
Most stage managers start by helping out backstage. Volunteering as crew or an ASM on a society show is the easiest route in, and societies are almost always looking for backstage help. If you are not yet a member anywhere, my guide on how to join amateur theatre in the UK covers how to find a society near you. Say you are interested in backstage roles. You will be very welcome.
Shadow an experienced stage manager
Ask whether you can sit in with the stage manager for a production. Watch how they lay out the prompt book, how they run a tech and how they call cues. Then try calling a section yourself in a rehearsal. It is the fastest way to learn.
Build a stage manager’s kit
Every stage manager has a kit bag. Here is a sensible starter list.
| Item | Why you need it |
|---|---|
| Pencils, sharpener and eraser | Blocking and cues change constantly. Never use pen in the book |
| Coloured tape | For marking out the set on the rehearsal room floor |
| Glow tape | For marking edges, steps and spike marks in blackouts |
| A small torch | Reading the book and finding things in the wings |
| Scissors and a multi tool | Quick fixes to props and set |
| Safety pins and a basic sewing kit | Costume emergencies |
| The first aid kit’s location | Know where the venue’s kit is and who the first aider is |
| A watch | For calls and running times |
If you want to go professional
Some people find they love stage management so much they want to do it for a living. The National Careers Service stage manager profile and the Prospects profile both cover routes in, including drama school courses and working up from ASM roles. In the UK, the Stage Management Association is the trade association for stage managers, offering advocacy and support. It also supports the National Stage Management Awards and International Stage Management Day on 10 October each year.
Amateur experience counts, too. Running a society show teaches you more about people, planning and pressure than a lot of people realise.
Stage manager FAQs
What does a stage manager do during a show?
During a show the stage manager is in charge backstage. They make sure the stage is set, the cast are ready, cues are called and any problem is dealt with. In UK theatres, the deputy stage manager usually calls the cues while the stage manager runs backstage, but in am dram one person often does both.
Is a stage manager more important than the director?
They do different jobs. The director shapes the show in rehearsals. The stage manager makes sure it runs, every night. Once the show opens, the director usually steps back and the stage manager takes charge, so on show nights they are the one making the calls.
What is the difference between a stage manager and a deputy stage manager?
The stage manager leads the team and runs backstage. The deputy stage manager sits in rehearsals with the director, keeps the prompt book and, in UK theatres, usually calls the show in performance.
Do you need experience to be a stage manager in am dram?
Not to start. Most people begin as crew or an ASM and learn on the job. Societies value reliability and organisation far more than a long list of credits.
What does “the half” mean in theatre?
“The half” is the call given 35 minutes before curtain up. It is half an hour before the beginners call, which comes 5 minutes before the curtain. By the half, everyone in the company should be in the building.
If you are thinking about getting more involved in your society, have a look at my guides to the director and producer roles and am dram auditions, and if you are picking a show, the hardest musicals to perform will give your stage manager something to think about.
[…] it. It’s a door-slamming farce, and the set has to work perfectly every single night. Your stage manager will either love you or never speak to you […]