Backstage in the dark, a lone figure dressed in black focuses intently on a thick script with hundreds of “cues.” She stands serenely in a puddle of pale light and whispers into a headset microphone, “Go!”
Light floods the stage. Actors scramble to enter and exit portals whose doors slam with loud cracks. Voices shout over one another – now wheedling, now lustful, now angry, now afraid. The play – “Unnecessary Farce” at Little Theatre of Winston-Salem – courts chaos.
But fear not! For the next two hours or so, the unsung hero of live theater will hold the space for a smooth and successful show.
The stage manager is in charge.
The job includes nearly every aspect of a theatrical production or event. Stage managers work closely with the director, the creative team, the production team, the cast, and the crew, from auditions to the final performance, explains Nikki Hyde, an assistant professor at UNC School of the Arts who teaches stage management in the School of Design and Production.
“Usually, the lead stage manager is the person who calls the cues, meaning that any time the lights change or anytime you hear a new sound cue, the stage manager is the person saying, ‘Go!,’ to an operator who is making that happen and coordinating all those things in performance,” Hyde says.
They manage schedules and day-to-day operations in rehearsal and during production. Once the show is up and running, they are the lead person for the maintenance of the show, so if any changes are made, they are the person who gives notes to the performers or the technical team. They keep the show looking, sounding, and feeling as the director and the creative team intended.
If the play is new and gets picked up to be done again in another theater, the stage manager's paperwork and documentation will move on with the show to its next production.
Hyde, who has spent her career stage managing theater, opera and special events, explains the most important skills for the job.
“I always start with a love of what we do,” Hyde says. “It’s a baseline. Anybody who works in theater in any capacity has got to love it.”
After love, other abilities that naturally flow from the scope of the job are good organization and communication skills (written and verbal) and adaptability.
Kathy Cissna, Elizabeth Rief, and Brittany Giles-Jones are three of the people who embody those skills in the Winston-Salem area.
How to be a stage manager
Kathy Cissna grew up in “a suburb of a suburb” of Pittsburgh and got her bachelor’s degree in theater from a small liberal arts college in Northwest Pennsylvania. She started out acting but soon found that she liked being backstage.
“As a stage manager, you get to be involved in all aspects of productions,” she says. “My dad was involved in local community theater. He was a singer and also did backstage tech work. I tagged along.”
The first show that Cissna stage-managed, “Born Yesterday,” was a trial by fire.
“They (the community theater) borrowed a whole bunch of fur coats for the cast from local fur shop,” Cissna says. “They installed an incredible security system. We put padlocks on the theater, and I was the person with the keys. They gave me a whole lot of responsibility, and I rose to the occasion.”
She’s still taking on that kind of responsibility 50 years later, in between acting roles, working at Reynolds American and raising a family.
Brittany Giles-Jones, who lives in Stone Mountain, Ga., and frequently comes to Winston-Salem to stage manage shows for N.C. Black Repertory Co., also grew up in theater.
“I grew up in the arts,” she says. “Then I went to college. I didn’t want to go the starving-artist route, so I went more into management, into being a talent agent.”
But her heart kept pulling her back into live theatre. “I went to see a client in a show, and I started trying to get back into the theater,” Giles-Jones says.
She started stage-managing at Horizon Theatre, a highly regarded theater in Atlanta. From there, she went to Juilliard School in New York as a stage-management intern. She continued to work in stage management, joined a union, and even did a stint as assisting managing director in the Drama Department at Juilliard.
In an example of how experience as a stage manager can translate to other jobs, Giles-Jones is currently working an emergency manager and pursuing a doctorate degree in the humanities with a focus on disaster research.
A “yearbook person” in high school, Elizabeth Rief discovered the joys of theater at Wake Forest University.
“A friend was working on ‘Our Town.’ I went and talked to John Friedenberg,” Rief says. “He said, ‘We need someone to stage manage,’ and I jumped in.” Friedenberg was the head of the theater department at Wake from 1988 to 2020.
“‘Our Town’ had all the things: set changes, complex costume changes,” Rief says. “I got exposed to all the technologies – props, construction, carpentry, sound, lights - so I really loved it.”
She loved it so much that she changed her major from Latin and history to theater. She and her classmates bonded to the extent that they functioned as a production company putting together their senior shows.
While she was trying to figure out how to stay in Winston-Salem after graduation instead of returning to Florida, where she is from, Rief got her first job at Little Theatre of Winston-Salem. That was “Guys and Dolls” in 1994. She has stage-managed a show for them every year for the past 30 years. She’s also worked at Theatre Alliance of Winston-Salem, Spirit Gum Theatre, Paper Lantern and more.
“What I love about stage managing is that you are the person who’s developing all the components of the production, from welcoming people to auditions to the last performance,” Rief says. “I think of it as a wagon wheel; you are the center, and everybody is connected to you, and you are taking information in and sending it out to wherever it needs to go.
Magic time
“Big River,” a musical, contains a sequence of cues that allows a raft to break free of its moorings and take Huckleberry Finn and Jim on an adventure down the Mississippi River.
“You have crews standing by to release raft, you’ve got actors in the wings, you’ve got somebody getting ready to release the fog. You’ve got 10 things that have to happen in perfect sequence, and it did,” Rief says. “It remains one of my favorite moments in theater. When I see other productions, I wait for that moment.
“All I did was say, ‘Go!’ and they all worked together to make something happen. You can’t beat that moment when you know you have the right people to do the job, and you know that it is all going to work.”
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