Stage Management
Songs & Stories 2025 : A Snapshot of Family and Friends
In Spring 2025, I had the opportunity to be Stage Manager for the first time on the University of West Georgia production of Songs and Stories 2025, a devised production created through collaboration and original material developed in the rehearsal process. Because the show was not based on a traditional script, I learned how important flexibility, organization, and communication were in helping track changes, support the cast and creative team, and keep the process running smoothly from rehearsals through performance.
Pre Production
In pre-production for Songs & Stories: A Cabaret 2025, I approached the show from a stage management standpoint by first building structure. Even though a cabaret can feel flexible, I knew it needed a clear organizational foundation to run smoothly.
I created initial paperwork, including contact sheets, rehearsal schedules, and a preliminary breakdown of the setlist. I treated the setlist like a script, identifying transitions, potential cue placements, and flow between numbers. I also familiarized myself with each song so I could anticipate timing, emotional shifts, and technical needs.
My goal in this phase was to prepare systems that would support both the creative team and performers once we entered rehearsals.
Rehearsal Process
During rehearsals, my primary responsibility was maintaining organization and communication. I recorded blocking, tracked changes to music cuts and transitions, and updated rehearsal reports consistently to keep the entire team informed.
Because cabaret work can evolve quickly, I stayed adaptable and made sure all changes were clearly documented and distributed. I also maintained the rehearsal schedule, ensured time was being used efficiently, and supported the director in keeping the room focused and productive.
Another key part of my role was supporting the performers. Since many pieces were personal, I worked to maintain a respectful and professional rehearsal environment while still keeping the process moving forward.
Paper Tech
During paper tech, I worked with the director and designers to formalize all technical elements of the show. I built my calling script by clearly notating all lighting, sound, and transition cues.
This process required precision and clarity. I ensured that cues were placed in logical and consistent locations and that all transitions were accounted for. Because the show relied heavily on flow between songs, I paid particular attention to how cues supported pacing and continuity.
Paper tech allowed me to organize the show in a way that would make calling it efficient and consistent during performances.
Tech Week
In tech week, my role shifted to execution and coordination. I called cues during runs, worked closely with the lighting and sound teams, and adjusted timing as needed based on how the show functioned in the space.
I maintained clear communication between all departments, ensuring that any changes were implemented and documented. When issues arose, I focused on problem-solving quickly while keeping the rehearsal process on track.
Timing and transitions were a major focus. I worked to ensure that scene shifts and musical transitions were smooth, maintaining the overall flow of the show.
Show Week
During show week, my focus was consistency, leadership, and maintaining the integrity of the production. I called all cues, ensured that the show ran according to established timing, and monitored performances to maintain quality across each run.
I facilitated communication between cast and crew, managed any last-minute adjustments, and ensured that all pre-show and post-show responsibilities were completed.
Because live performance can vary each night, I stayed attentive and ready to adapt while still keeping the structure of the show intact.
