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    My experiences to date within a production environment and through lectures have both taught me new experiences and reinforced familiar aspects of the role of stage management (SM) team. My role in the lighting team allowed me to view the dynamic of the SM team from the outside and I feel that this gave me an insight of the team.     When comparing my lecture notes and my observations during my show role I found that the layout and structure of the stage management team was fairly standard for a production of that size, according to Maccoy (2004) where a SM, a Deputy Stage Manager (DSM) and an Assistant Stage Manager (AS) were present, along with three members of crew, this is slightly smaller than Maccoy outlines however I feel that this was sufficient for the size of the production.     I observed how imperative good communication and the importance of building up strong relationships between the cast and crew. I witnessed that the SM team had worked hard in order to gain the trust and respect of the cast which in turn helped the running of the technical and dress rehearsals as the cast were more receptive to the changes and situations presented to them. I witnessed the positive effect of good communication when the SM would confirm clearly that a message had been received or would ask for clarification if it was required making sure that all was clear and understood before moving on. I felt this helped the production progress because it meant that messages were understood and the process could move on without any confusion or delay.    Another example of where good relationships were demonstrated with the cast and crew was admitting that things had gone wrong and taking responsibility where relevant. I thought that this was very important because it meant that they were seen as to accept mistakes and learn from them meaning they were less likely to happen again. I also saw the use of a “strategic tea break” (Franklin, 2017) where a break was called when the SM could see that people were getting stressed or when things weren’t going as well as planned.    During my show role, I saw that every member of the stage management team was able to help each other (and occasionally other departments) when needed. This kept up relationships with other members of the crew because they were as people that were to be relied on.     I was able to watch the creatives run of Nice Work If You Can Get It, and was able to see the way the cast interacted with the mark up in the rehearsal space. They did not completely avoid ‘walls’ or climb up specific ‘steps’ on the markup but roughly walked around the tape. The set is a lot bigger on stage due to the third dimension being added. Maccoy (2004) speaks about this in his book, saying “Without actual walls physically there, the performers will work right up to them and sometimes even through them”. I saw this to be true as the cast had to be rearranged on the stage once they were introduced to the set, it was especially apparent when they started moving around on the stage and took longer to get down the steps than they had first thought or stumbling slightly due to the treads not being as wide as they originally thought.The DSM on the team is responsible for composing, looking after and using the prompt copy for the show, this copy is edited from the very first rehearsal and by the start of the run it will contain every cue for the show and when it occurs. According to Pallin (2012), the prompt copy contains “all the elements of the performance”. The prompt copy is so important is because the audience have paid to see a show and this should be the same every night (Franklin, 2017).The SM team is responsible for much of the documentation in relation to the running of the show, such as the props lists, prompt copy and documents in regards to the performances including show reports. The importance of these documents ensuring people are in the right places at the right times and that they are aware what is going on with the show. A main example of this is the call sheet, ensuring that all of the cast are aware of their calls and any extra information, such as any equipment needed, the activity or any suitable clothing to wear.     Setting lists are a good way of the SM team ensuring that everything needed on stage at certain points during a show are present and are set in the correct places as required. To maintain the quality of the show, this document is used in shout checks at the top of every show to ensure everything is correct and is one of the main roles of the stage management team.    Show Reports allow the crew to determine what went wrong during a show and how this can be rectified, it ensures that everyone is kept informed regarding the shows and it also makes sure that the creative team are aware of the goings-on of the show, as they may have moved on to other projects, especially is the show is on a long run.    When referring to cast and crew members, Mr or Ms must always be used along with a surname and initial as necessary. It is paramount that actors names are spelt correctly as this is part of their ‘brand’ and important to them so to ensure that relationships between cast and crew are kept positive, this is an important detail to get right. Names are also always listed in alphabetical order, with the women listed first, followed by the men on all documentation including call sheets and dressing room lists.    The SM team are responsible for the props of a show, both during rehearsals and the run itself including sourcing and budgeting, maintaining them and ensuring they are accounted for. There are many different types of props for SM to think about, from rehearsal props, to consumables. They have to work closely with the creative team and the cast to ensure that the props are right for both the look of the show and ease of use for the actors. Sometimes, during the process of changing from rehearsal to show props, an actor may feel more comfortable with the prop used in rehearsal, in this case, the SM would it would liaise with the actor and the creative team to discover a compromise to keep both parties happy.     Through my experiences, I have seen that the main role of the stage management team is to maintain relationships between the cast, crew and creative team and to ensure the smooth running of the show from conception, through rehearsals, tech weeks and the shows themselves to closing night making sure that the show is consistent in quality and energy. ReferencesFranklin, J. (2017) Seminar to BA Theatre Production Year 1 PRO1007: Stage Management. Guildford School of Acting. 16th October AMFranklin, J. (2017) Seminar to BA Theatre Production Year 1 PRO1007: Stage Management. Guildford School of Acting. 23rd October AMMaccoy, P. (2004). Essentials of Stage Management. A & C Black Publishers Ltd, p.14.Maccoy, P. (2004). Essentials of Stage Management. A & C Black Publishers Ltd, p.99.Pallin, G. (2012). Stage Management. Nick Hern Books Ltd, p.30.