Most complex Stage Management/blocking

Cast members that are new to an existing show are rehearsed in a studio by stage management, a resident director (if there is one), the dance captain and someone from the music staff. They are usually rehearsed with other incoming cast and/or understudies and swings from the current cast. On stage they get only one "put-in" rehearsal, which is a run-through of all their parts with technical elements (usually) and their costumes - with the current cast (who are not in costume). In terms of not running into people, performers have to hit their marks, sometimes indicated by spike marks on the floor, or by following numbers that are on the front edge of the stage. (that would be just as important in something like Dear Evan Hansen, mostly for lighting considerations) Incoming performers usually have the chance to watch the show from the audience and take notes as well. They'll also get a chance to track the performer they are replacing - by following them backstage during a performance, to see what they do offstage (ie. where to change, where to stand to not get run over by a set, etc.). Most likely they will also be given a written up version of the track which they can study.

In terms of what show is the most complex to stage manage, that somewhat depends on what stage management position you are talking about. A SM calling the show, is different then the ASM supervising a busy backstage area. ie. Come From Away has a billion lighting cues, Lion King has extensive backstage traffic & choreography, etc. Spiderman was probably one of the more complex shows in recent memory.

Updated On: 6/22/18 at 12:28 AM

What would happen if a performer absolutely flunks their put-in? As in really, really bad, stumbling on other people, on the stage, on moving pieces. Imagine everything went wrong for this performer.

rodrigo_ca said: "What would happen if a performer absolutely flunks their put-in? As in really, really bad, stumbling on other people, on the stage, on moving pieces. Imagine everything went wrong for this performer."

If that were to happen, the performer would get to wage a Twitter war claiming unfair treatment and get the show closed.

Seriously though, it rarely gets to that point. The SM team would know if an incoming cast member is ready or not for their put-in, and would reschedule the put-in if need be. IF someone were to crash and burn in their put-in, they would continue studio rehearsals until they're sufficiently prepared to go into the show, but would almost never have another put-in.

Updated On: 6/22/18 at 08:36 AM

rodrigo_ca said: "What would happen if a performer absolutely flunks their put-in? As in really, really bad, stumbling on other people, on the stage, on moving pieces. Imagine everything went wrong for this performer."

If that ever happened, then Oak would complain bitterly on social media. Then his friends would start vicious smear campaigns against the producers and the production and turn it into a race riot. Then the show would close. Then Oak would get cast in a TV series.

Lot666 said: "Phantom certainly has a large cast onstage during certain scenes (e.g., Hannibal, Masquerade, Don Juan Triumphant)and I suppose they must require much rehearsal and attention to ensure that all those people are where they're supposed to be at any given moment.

I thought Groundhog Daywas a staging/blocking marvel, with some scenes (e.g., Hope) requiring split-second timing to pull them off properly."

How could I forget about GHD! That was most certainly the most complex show I’ve watched and felt wow, this cast is really getting a workout. Most of the time we don’t see the running around but they were running around on stage and off. I think why I had glossed over it now is because while there were swings and understudies, it didn’t last long enough for new cast to come in (still a shame) and while this has no ground, I was wondering in particular if it’s any harder for new members joining long-running shows.

And Hope was indeed incredible. Ugh I miss that show.

Updated On: 6/22/18 at 03:08 PM

For the most part, I don't think any show is "difficult" to call. They're stage managers, and that's what they do. It just depends on what you'd consider difficult. They get into the routine of calling a sound cue, a light cue, a set move, etc. The bigger musicals are actually easier to call because the big musical numbers are basically all one call. My best friend is a PSM and Stage Manger and was telling me that the big musicals are well oiled machines and once you call the cue to start the number it all just kind of rolls out from there. Not sure if that's true.

Also, you have to remember, as far as put-ins go, most of the other actors on stage have been doing the show for quite sometime and they will help guide the new cast member. Push them into place, guide them backstage, etc. They're all working together to make sure the show is as good as possible.

There was a Ham4Ham where they did Ten Duel Commandments as the PSM called the cues. I thought it was very interesting at the time and just looked up the link if you want to watch

https://www.youtube.com/watch?v=XqE-mGI5OaM

I'd imagine Great Comet had to be one of the hardest shows in recent memory to stage manage/get put in as a replacement. Though I mostly marvel at the swings in that show—how they managed to remember every track they covered is beyond me.