Stage Managing a Showcase: How to Keep It Polished Without Losing Your Mind

full opening/closing ensemble and tech crew for the 2023 Marquee Awards. Image courtesy of dan mitchell & The columbus association for the performing arts. bonus points if you can find me!

In 2019, the Columbus Association for the Performing Arts (locally known as CAPA) launched its own feeder program for the national Jimmy Awards—essentially the Tony Awards for high school theatre students across the country. This program, tailored to the Columbus market, became the CAPA Marquee Awards. Through word of mouth, the producer—new to the area—got in touch with me while searching for an Assistant Stage Manager (ASM). At the time, I had never worked on a showcase or event of this scale, but once I learned about the educational opportunities this program offered, I knew I wanted to be part of it.

I signed on as ASM for the inaugural year, and let’s just say—it was a learning experience! Since then, I’ve been involved in some capacity each year: as an adjudicator, workshop leader, and, currently, serving as Stage Manager for my fourth year. Along the way, I’ve picked up a lot of insight—and I’m excited to share some of what I’ve learned.

1. Know What Kind of Showcase You’re Running

This showcase involves 50–60 high school students performing in the opening and closing numbers. Within that group are 10 Best Actor/Actress nominees. Additionally, there are five high school ensembles performing musical numbers as finalists for Best Musical Production. There’s also a team of tech students working alongside professional stagehands. Thirteen awards are announced live—yes, I truly don’t know the winners until they’re read onstage. In total, about 230 students participate each year.

Sound like a lot? That’s just the basics. Showcase logistics are critical. You need to know where people are coming from, where they need to be, and how communication flows between students and your team. Start solving the “traffic puzzle” in your head as early as possible—it will save you major stress later.

2. Prep Like It’s a Full-Length Production

At minimum, create a Run of Show: a document outlining who’s performing when, what they’re performing, any guest speakers, scenery shifts (curtains, projections, etc.), and award presentations.

For the Marquees, I consolidate the full 60-page script and the 2–3 page run of show into my own run sheet. I share this with my ASM, the run crew, and anyone else who needs it. Even when awards are announced live, we need to be ready with people in place backstage in case they win or are accepting on someone’s behalf.

Post the run of show where everyone can see it—on each dressing room floor and backstage at key points. It’s simple, but crucial.

excerpt from my 2024 marquee awards deck run sheet.

3. Communicate Early and Often

For potential winners, I make personal contact. I look them in the eye, explain that I’ll call them backstage before their award is announced, and tell them exactly where to report.

In a show with over 200 participants, things can easily descend into chaos. I frequently remind everyone to stay in their dressing rooms until called. Thankfully, our venue’s paging system reaches all dressing rooms. When I place a call, I start with, “Hello everyone,” then list who needs to report and where. I repeat each message twice and speak calmly and clearly to ensure it’s heard.

Once we’re in tech, I serve as the main liaison between our professional stagehands and the creative team—keeping everyone updated on any challenges.

4. Prioritize Rehearsals (Even Limited Ones)

It’s essential to have at least one run through with tech. For the Marquees, we have two tech days, a dress rehearsal, and one performance. This allows us to resolve technical issues and helps students learn their routes.

Even if rehearsal time is short, make time to transition walk-throughs—who enters and exits when, where scenery moves, when the curtains fly in or out. Everyone should know what's moving and when for safety. Also rehearse moments of “controlled chaos”—mic swaps, quick changes, large group transitions.

5. Organize Your Backstage Like a Pro

Clear, unobstructed pathways are essential. The last thing you want is someone tripping over a mic cable or getting lost en route to stage.

Set up a traffic flow pattern—for people and scenic elements. At the Marquees, I assign a holding space near the stage, where each group stays until I give the cue to move backstage.

I rely heavily on my high school tech students, especially my production assistants. Even informal volunteers can make a huge difference. For example, one of my assistants manages the holding room door—when I give a visual cue (ex. thumbs-up, head nod, etc), they release the group and help maintain quiet backstage. Never underestimate a solid PA.

6. Be Prepared for Last-Minute Chaos

Keep backups of everything: run sheets, pens, blank paper, spike/gaff/glow tape, and anything else you need to run backstage. Things will change—embrace it. Stay calm, adapt quickly, and don’t hesitate to make executive decisions when needed.

Each year, I keep a spare handheld mic backstage in case someone’s mic cuts out. I haven’t had to use it yet, but being prepared for what might go wrong often saves the day when something does.

7. After the Curtain Call: Celebrate and Reflect

Celebrate the wins—even if not everything went perfectly. I always make a point to thank everyone: my ASM, student crew, and professional stagehands. It takes a village to keep the chaos under control.

Then take time to debrief. What worked well? What could be improved? Did something need clearer communication? Use this as a chance for self-reflection and team feedback. You might uncover something that makes next year’s process even smoother.

And finally—give yourself credit. Showcases and award events are no easy feat, and you made it happen!

In conclusion, stage management is just as essential in a showcase as in a traditional theatre production—maybe more so. Even if the format looks different, it’s a chance for your skills to shine.

I encourage new stage managers to try working on showcases, large or small. You might discover you enjoy the fast-paced structure more than conventional theatre—or at the very least, you’ll stretch your skills in a whole new direction.

And remember: “polished” doesn’t mean perfect. It means prepared, thoughtful, and adaptable—three traits every strong stage manager brings to the table.

With that in mind—get to your places!