The Pirates of Penzance was the most rewarding production process that I had the pleasure of stage managing. Every night, I studied the score intensity, and I devoted myself to the goal of making this production not only successful, but an unforgettable experience. Even the small bumps in the road led to wonderful learning opportunities. It was through the combined efforts of my fellow crew members and actors that we went above and beyond to create something extravagant, hilarious, and beautiful. I always say that my favorite part of stage management is calling a show, but watching this cast grow close, lift one another up, and create such a supportive community was mu favorite part of this show and is something I’ll carry with me forever. I truly cannot express how deeply I cherished this fiercely talented cast, the brilliant crew, and especially, my incredible stage management team. I am grateful for the time I got to spend learning more about myself and my style as a stage manager and having the opportunity to experience new technical and logistical elements. I am proud to have this production experience as I prepare to graduate and find professional work in the theatre industry.
The Pirates of Penzance
Production Innovations
Adolescent Safety & Care
As a stage manager, adolescent safety and care was important during this production because our director’s child was involved in the show. This meant that I had to be especially mindful of his safety and make sure he was properly supervised throughout the rehearsal and performance process. We had moments where he was lifted or was in close proximity to scenic elements, so I made sure that the actors involved understood how to safely lift and handle him and that everyone was aware of his location during rehearsals. I also paid close attention to making sure he was out of the way of moving scenic elements and other potentially hazardous areas backstage and onstage. Having younger performers who may require additional communication, supervision, and consideration when working around complex scenic and technical elements was a very important aspect to execute for this production
Fight/Intimacy/Lift/Sword/Trap Calls
Before each performance, my team was responsible for making several pre-show safety calls to ensure that the cast and crew were prepared and that all safety elements were in place before the house opened. These calls included checking in with actors involved in fights, lifts, intimacy, trap doors, and sword fight choreo, as well as confirming that the necessary props, scenic elements, and equipment were ready and in their proper locations. I also made sure that actors had an opportunity to communicate any concerns or changes before the performance began. Because many of these moments involved physical contact, these calls gave everyone a chance to reset, review expectations, and make sure they were comfortable and prepared to perform safely. Pre-show checks are especially important because they created consistency from one performance to the next and allowed me to address potential safety concerns before they became an issue during the show.
Scenic Elements/Trap Safety
One of the biggest safety considerations was our TARDIS scenic unit, which was rolled over the trap door during certain scenes and had to be secured to the floor before it could be accessed. The actors were responsible for locking the Tardis into place, so I had to make sure this was communicated clearly and that the unit was properly secured before the trap could be used over comm. During one performance, the actor was unable to successfully lock the Tardis into place under the trap, which meant that we could not safely use the trap as planned. Rather than risk using an unsecured scenic element, we had to quickly troubleshoot an alternate entrance for my police ensemble. This required communication over the comm to my crew and making a decision that prioritized safety while still allowing the scene to continue. This experience reinforced the importance of having a strong understanding of how scenic elements function, consistently checking safety points, and being prepared with alternative solutions when something does not work as expected during a live performance.
Media/Film/Music/Orchestra Department
Throughout the production, I collaborated with the media and music departments. This required consistent communication about rehearsal needs, scheduling media promotions with actors, and any changes that could affect the production. Also, managing the orchestra throughout the performance process required making sure musicians received the appropriate calls and information for each performance. I worked closely with the maestro to coordinate musical bump and downbeat cues. Collaborating with the maestro also allowed me to better understand the musical timing of the production and ensure that technical and scenic cues were coordinated with the orchestra.
Projections and Supertitles
Throughout the production, we incorporated supertitles into the performance to support the audience's understanding of the text. A designated operator managed the supertitles independently, and I worked with them during rehearsals to establish the timing and progression of the cues. I also activated projection cues while calling the show, which required me to multitask between calling cues for the various technical departments and operating the projection system at the appropriate moments. I had to remain focused on the script, listen for cue points, communicate with the crew, and simultaneously operate the projection system without allowing one responsibility to interfere with another. This experience strengthened my ability to manage multiple technical responsibilities at once while maintaining accuracy and consistency during a live performance.
Cue Calling Video
Act 2: With Cat-Like Tread
