Katie Jackson: Applying the art of diplomacy is all part and parcel of a stage manager’s job
As a deputy stage manager, you often have to play diplomat. You are the contact point between everyone inside the rehearsal room and all other elements of the production, both creative and practical, outside the room. The job often requires tact and an unbiased approach to problem-solving. So what happens when tensions exist between the cast and the director?
If you’re lucky enough to have a four-week rehearsal process, which is becoming increasingly rare in the current economic climate, then you are dedicated to nearly a month of working intimately with a group of people in one small room. Usually, this isn’t a problem – most people have the sense to leave their egos at the door and focus on the work at hand. But sometimes, the process isn’t as simple as that.
Personalities clash. You have to be quite a specific type of person to work in theatre, but there are always variations on the theme. You can’t expect to seamlessly co-exist with everyone you work with over the course of your career. But as the deputy stage manager, your function in the rehearsal room is fairly mechanical. You’re there to serve a purpose and support the production, not add to the creative integrity of the piece, so you can stay emotionally detached from the project more easily.
However, occasionally you will be put in the position of playing intermediary. It feels like being between a rock and a hard place, as you want to support the emotional needs of your actors while staying impartial and professional in your approach towards your director.
I have worked with directors who have sometimes failed to treat me as a respected professional, and instead as their personal valet
Of course, this is not always easy. I have worked with directors who have sometimes failed to treat me as a respected professional, and instead as their personal valet.
I don’t mind getting you a sandwich from Sainsbury’s if I’m going there myself, but I’m not hired to be your errand girl. Unfortunately, that’s not a distinction all directors make. I have been put in positions that have made me feel more than a little underappreciated. And when you are working with a director who doesn’t always value their stage manager, it’s likely that they don’t value their actors very much either.
What do you do when a cast member comes to you in floods of tears saying that they don’t feel the director is providing them with what they need to do a good job? Or, an actor says that they’re worried about their scene because the director hasn’t given enough time to it and they feel deeply insecure and not confident in their ability to perform? Or maybe they feel that the director just doesn’t like them?
Regardless of your own relationship with the director, you are not there to take sides or make friends. You must comfort your actor and reassure them as far as you feel it is appropriate to, but the bottom line is, it is their discussion to have with the director, and you must not show an alliance either way.
We need your help…
When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.
The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.
We are fully independent, but this means we rely on revenue from readers to survive.
Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.