There is No One Way to Stage Manage

The first time I heard those words, it felt revolutionary. Throughout my education and early experiences, I was taught to approach every show with the same prep work, the same mindset, the same everything. So when I began stepping outside of my comfort zone—working in different types of shows or other areas like production management, and event management—it started to feel like I wasn’t quite syncing up.

It’s easy to say, “there’s no one way to stage manage” when comparing a musical to an event, but it goes much deeper than that. There's a big difference between managing a play with four actors at a small regional theatre and managing a large-scale community theatre musical with a cast of 60+. But even two plays at two small regional theatres can be wildly different experiences.

Here are a few key things I consider when starting a new project:

Meet People Where They Are

This can mean a lot of things, but first and foremost: talk to the people you’ll be working with. Get a sense of the vibe and expectations. If you're the new person in a room full of people who have been working together for years, barging in with a “this is how I do things” approach won’t serve anyone well.

Ask how things have been done in the past—not because you have to do it that way, but because it gives you a useful starting point. For example, what’s the typical break schedule? Even in non-Equity spaces, many places follow Equity break standards. Then take it a step further: does the team prefer a five-minute warning before a break? Do they want an interruption? Or are we just “going off the vibes” (yes, I’ve seen that)? Supporting the room effectively means finding and matching its tone.

This also means re-evaluating your assumptions. Is everyone familiar with basic theatre etiquette? Things like checking the daily call for updates, letting stage management know if they’ll be late or out sick, or understanding proper rehearsal room behavior? It’s easy to feel frustrated when those unspoken rules aren’t followed—but before jumping to conclusions, ask yourself: Does this person know what’s expected? And more importantly, how can I guide them with clarity and kindness so we avoid similar issues in the future?

Adapting Your Personal Process

While I fully believe there is no one right way to stage manage, I still have personal habits I prefer to maintain—habits that aren’t always practical in every situation.

For instance, I like to finish my paperwork and emails before I leave the rehearsal space. I’ve found that taking an extra few minutes at the end of the day helps me mentally close the loop so I can go home and truly disconnect. But not every production allows for that extra time in the space, whether due to scheduling, policies, or access limitations.

When that’s the case, I’ve learned (sometimes the hard way) how to adapt. Maybe that means gathering key information—like report notes or schedule changes—during rehearsal rather than at the end. It might involve more multitasking for both the stage management and directing teams. If that’s not feasible, maybe it’s setting up a quick text thread or group chat to handle post-rehearsal follow-up. It’s not always ideal, but it gets the job done within the realities of that particular production.

At the end of the day, stage managers are creative problem solvers. No two rehearsals or shows will have the same problems—or require the same solutions. When facing something unfamiliar, it’s vital to pause, breathe, and consider different perspectives. That’s how we grow, adapt, and support the work in front of us.

And with that—it’s time to get to your places!

Capa marquee awards 2024 - while I am the Stage manager in the room, there is another person, our technical manager, stephen, who calls the show. Photo courtesy of the Columbus association for the performing arts and mitchell multi-media