Stage Directions

I met Derek Graham when he was the resident sound designer/engineer at PlayMakers Repertory Company on Skeleton Crew, for which I designed lights. Derek Graham is a sound designer, composer, and audio engineer based in North Carolina. A native of Queens, NY, Derek holds a MFA in Sound Design from Ohio University. His sound design and composition works include: Redwood (Portland Center Stage at the Armory), Your Healing is Killing Me and Bewilderness (PlayMakers Repertory Company: PRC² Series); The Passion of Teresa Rae King, A Raisin in the Sun, and Beautiful Star (Triad Stage); Believe in Cleveland (Karamu House); and Wakey Wakey, An Octoroon (Dobama Theatre). Derek has recently co-founded a multi-media design company with his wife, Jessica called Life by Design Media & Productions, recently launching the first episode of the new podcast series What’s the Law? Ask John Eluwa. 

This year marks the 7^th edition of the Stage Manager Survey. If you have not taken the survey yet and you have served in a stage management role in at least 3 American productions, please visit http://smsurvey.info. The 2019 survey runs through Monday, November 25^th, but don’t wait to share your thoughts on the profession.

On October 10th we celebrate International Stage Management Day. We can thank our fellow SMs in the UK for starting this holiday* and festivities are planned quite literally around the world (please free feel to share yours in the Comments). The Stage Managers’ Association of the United States is hosting parties, sharing punny telegrams, and asking folks to post photos of SM teams with the tag #Internationalstagemanagementday2019.

I was introduced to Christopher Scott Murillo through a mutual friend. We also work on the USA829 diversity committee together. Christopher Scott Murillo is a scenic designer, artist, and educator based in Los Angeles, CA. Most recently, his work has been seen at The Kirk Douglas Theatre, International City Theatre, The Chance Theater, Skylight Theatre Company, East West Players, New Village Arts Theatre, Native Voices at the Autry, The El Portal Theatre, and the Getty Villa, among many others. 

Recently the question of how stage managers practice their soft skills was posed in an online forum and my immediate response was GAMES! I will confess that I am life-long fan of games of all kinds but, beyond general enjoyment, I find them to be incredible learning opportunities for stage managers. Games can teach you how to analyze a problem and develop strategies to solve it, read people and their bluffs, cooperate with colleagues, negotiate with those in power, and even learn how to benefit when you know you are going to lose. 

While interviewing designers from the Latinx Theatre Commons Carnaval 2018, Porsche McGovern met Tara A. Houston and wanted to learn more about her. Houston is the Assistant Professor of Scenic Design at Louisiana State University as well as a freelance scenic designer. Her design work has been featured at Swine Palace, Skylight Music Theatre, Casa Mañana Theatre, Ocala Civic Theatre, Austin Shakespeare, Alabama Shakespeare Festival, Music Theatre of Wichita, and others.

Students often ask, “So where do you find resources for stage management history?” Usually this question is paired with an explanation of a final project or paper they are working on and are reaching out to me in hopes that I can point them in the right direction.

Three years ago, I used this blog to promote a new Fulbright initiative that supports stage managers and stage management students in cultural exchanges. I didn’t just announce the program; I applied for it myself. Today I finish a two-week residency in Pretoria, South Africa, in what has been an amazing journey.

Last fall, I met Asa Benally at a workshop, Decolonizing and Indigenizing on Turtle Island: Arts, Education, Community Practice, and Leadership. I was lucky enough to be paired with him for a few one-on-one exercises and was excited to get the chance to interview him.

To college, or not to college? While some colleges and universities offer BFA degrees focused on stage management, many do not. Ask anyone in the stage management field and many will have a particular opinion on higher education – Should you choose a school with a BFA in stage management, allowing you built-in access to mentors, stage management courses, and a support network? Or do you go to a smaller program where you may not receive much of a stage management education in a classroom setting, but as the only stage manager in the theatre department, you end up graduating with 10 or more shows under your belt? OR, do you skip college and apply straight away for every apprenticeship and internship a high school graduate can get, maximizing on the networking opportunities that jumping straight into the field may open for you?