Shakespeare, hip hop, and politics: stage managing Rome sweet Rome at the University of Iowa

Transcription

1 University of Iowa Iowa Research Online Theses and Dissertations Spring 2017 Shakespeare, hip hop, and politics: stage managing Rome sweet Rome at the University of Iowa Samantha Lynn Paradis University of Iowa Copyright 2017 Samantha Lynn Paradis This thesis is available at Iowa Research Online: Recommended Citation Paradis, Samantha Lynn. "Shakespeare, hip hop, and politics: stage managing Rome sweet Rome at the University of Iowa." MFA (Master of Fine Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Theatre and Performance Studies Commons

2 SHAKESPEARE, HIP HOP, AND POLITICS: STAGE MANAGING ROME SWEET ROME AT THE UNIVERSITY OF IOWA by Samantha Lynn Paradis A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts degree in Theatre Arts in the Graduate College of The University of Iowa May 2017 Thesis Supervisor: Senior Lecturer David J. McGraw

3 Copyright by SAMANTHA LYNN PARADIS 2017 All Rights Reserved

4 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL This is to certify that the Master s thesis of MASTER S THESIS Samantha Lynn Paradis has been approved by the Examining Committee for the thesis requirement for the Master of Fine Arts degree in Theatre Arts at the May 2017 graduation. Thesis Committee: David J. McGraw, Thesis Supervisor Melissa L.F. Turner Bryon S. Winn Alan MacVey

5 To Dr. Sandra Hardy for her unconditional love, trust, and encouragement. ii

6 In the face of our destruction the only thing humanity can do is to create. Moira Buffini Welcome to Thebes iii

7 ACKNOWLEDGEMENTS I would like to thank Iowa stage managers past and present for their endless support, especially Alison Kochman, Kelsey Petersen, Adriana Fernandez, Rachel Winfield, Katy McGlaughlin, Meg Sugden, and Ellen Kane. Thank you to David McGraw, Melissa Turner, and Bryon Winn for always challenging me, laughing with me, and encouraging me. Thank you to the Q Brothers for their trust, collaboration, and dedication. To my classmates Nathan Brauner, Alex Casillas, and Nic Wilson thank you for your incredible friendship. To William Goblirsch, thank you for always believing in me, and the endless supply of chocolate ice cream. And finally thank you to Carey, Loraine, Chris, and Jon Paradis for their infinite love and support. iv

8 PUBLIC ABSTRACT Rome Sweet Rome, written, directed, composed, and choreographed by the Q Brothers Collective, is a hip-hop musical adaptation of William Shakespeare s Julius Caesar. The University of Iowa Department of Theatre Arts produced Rome Sweet Rome in the fall of 2016 as part of the Mainstage season and the Partnership in the Arts production. This thesis explores the unique production process of Rome Sweet Rome from the stage manager s perspective. Because leadership, communication, and organization are essential attributes of stage managers, Samantha Paradis personal leadership, communication, and organization goals and outcomes for this production are addressed. Since theatre and life can be unpredictable this paper also includes the analysis of new challenges that arose. Paradis concludes her exploration with final thoughts on the production and her development as a Graduate Stage Manager at the University of Iowa. v

9 TABLE OF CONTENTS LIST OF FIGURES... vii INTRODUCTION... 1 The Q Brothers... 1 Partnership in the Arts and the Q Brothers... 3 Why Produce a Julius Caesar Adaptation... 6 The Premise of the Show... 6 PROJECT OVERVIEW: STAGE MANAGEMENT PERSPECTIVE... 7 Four Directors... 7 Devised Process... 8 Budget... 8 PRODUCTION CHALLENGES Devised Process Casting Preparation & Shortened Timeline Budget Four Directors PERSONAL LEADERSHIP AND COMMUNICATION GOALS Stage Management Team Dynamics Managing Production & Artistic Team Managing the Cast & the Deputy Show Maintenance Company Management & Primary Contact PERSONAL ORGANIZATION GOALS Script Time Management & Personal Organization NEW CHALLENGES Managing Illness Hip-Hop Beats Touring Stage Manager A FINAL NOTE ON THE PRODUCTION EPILOGUE APPENDIX: SELECTED IMAGES & DOCUMENTATION WORKS CITED vi

10 LIST OF FIGURES Figure A.1: Final Cast List Figure A.2: List of Production & Artistic Team Figure B.1: A Q Brothers' Christmas Carol Figure B.2: Chicago Shakespeare Theatre s Othello: The Remix Figure B.3: Othello: The Remix Off-Broadway Figure C.1: Rome Sweet Rome Opening Number Figure C.2: Rome Sweet Rome Caesar s Death Figure C.3: Rome Sweet Rome Full Stage View Figure D.1: Top of Show Cue Sequence Bum Rush the Show Figure D.2: Challenging Cue Sequence - Caesar's Rally Figure E.1: Sample of Run Sheet Top of ShowUsed courtesy Meg Sudgen Figure E.2: Sample of Run Sheet - Middle of Show Figure F.1: Rehearsal Report Figure F.2: Tech Rehearsal Report Figure F.3: Performance Report Figure G.1: Production Meeting Minutes vii

11 INTRODUCTION Rome Sweet Rome, written, directed, composed, and choreographed by the Q Brothers Collective, is a hip-hop musical adaptation of William Shakespeare s Julius Caesar. The University of Iowa Department of Theatre Arts produced Rome Sweet Rome in the fall of 2016 as part of the Mainstage season and the Partnership in the Arts production. Four members of the Q Brothers Collective, Gregory Quaiyum, Jeffery Quaiyum, Jackson Doran, and Postell Pringle, arrived at the University of Iowa at the end of August and worked as artists in residence for six weeks. Our team consisted of faculty designers, one guest designer, departmental production staff, and student assistant designers, crew, and stage managers. Appendix A includes a list of all production personnel. The script was devised throughout the rehearsal process between the four Q Brothers and the student actors. This thesis will examine the creation and development of this production from a stage management perspective. The Q Brothers Known by their nicknames, a tradition in hip-hop culture, 1 which stem from their given names, the Q Brothers company consists of GQ (Gregory Quaiyum), Founder and Creative Director, JQ (Jeffery Quiayum), Creative Director and Musical Director, Pos (Postell Pringle), Creative Associate and Director of Choreography, Jax (Jackson Doran), Creative Associate and Director of Education, Greta Honold, Producing Company 1 Erika Ramirez, 20 Stories Behind Rappers Stage Names: Waka Flocka, Jay-Z & More, Billboard.com, last modified April 3, 2013, 1

12 Manager, and Clayton Stamper, Company Member. 2 GQ, JQ, Jax, and Pos, known as the Q Brothers Collective when they write together, were the four company members in residence for Rome Sweet Rome. 3 Although GQ, JQ, Pos, and Jax have designated titles and roles within the company, they work collaboratively no single member is completely in charge. Throughout our production process there was never an individual Q Brother authorized to make decisions; all decisions were discussed and agreed upon by the Collective. In rehearsals there was never a sole director; at least two of the Q Brothers were present at all times and when all four were available they would all be present. They continuously, with ease, tag teamed allowing for each of their voices to be heard. They played to each other s strengths, noted in their company titles, while maintaining an open dialogue and working together. The Q Brothers established their company in 1998 while GQ was completing his BFA at Tisch School of the Arts at New York University. GQ combined hip-hop and theatre and created The Bomb-itty of Errors, which is an adaptation of Shakespeare s Comedy of Errors. Because he was working with a limited timeline when completing this project, GQ decided an adaptation was best. He selected Shakespeare because Shakespeare s plays are in the Public Domain, which means they are free to use and adapt. Through this project GQ and JQ discovered how well Shakespeare s writing translated into hip-hop and from that point forward they continued creating what they call 2 Q Brothers, Company Members, Q Brothers, last modified Q Brothers, Rome Sweet Rome at U of Iowa, Q Brothers, last modified

13 their ad-rap-tations 4 from Shakespeare s plays. 5 Through their ad-rap-tations the Q Brothers, take [these] classic works and translate them into modern contexts while staying true to the original story. In this way [they] pay homage to the original authors and make their timeless stories more accessible to modern day audiences. 6 Since their founding the Q Brothers have adapted five of Shakespeare s plays, Aristophanes Lysistrata, and Charles Dickens A Christmas Carol. Their work has been produced in Chicago, New York, London, Australia, and on tour throughout the United States. They have appeared at the Edinburgh Fringe Festival where Othello: The Remix won an award for best lyrics and best new musical in 2012 and Funk It Up About Nothin won for best musical production in Most recently, the Q Brothers were Off-Broadway performing Othello: The Remix, which closed January 15 th, Partnership in the Arts and the Q Brothers Partnership in the Arts began at the University of Iowa Department of Theatre Arts in Since then, the Department has produced approximately twenty of these productions. The overarching purpose of Partnership is to support the creation of major new works of theatrical art... [and allow] Iowa faculty and students to [collaborate] with 4 Ad-rap-tations are their hip-hop adaptations, which are rhymed and performed over original music spun by a live deejay. 5 Gregory Quaiyum et al., Q Brothers in Conversation with Miriam Gilbert (lecture, Creative Matters Lecture Series, University of Iowa, Iowa City, September 20, 2016). 6 Q Brothers, Our Plays, Q Brothers, last modified Q Brothers, Our Plays. 3

14 professional artists to develop new work. 8 The four main goals of the Partnership in the Arts Program are: 1. to foster the creation of major, innovative works of art, especially those which cross disciplinary lines; 2. to make these works available beyond the University community, thereby contributing to the culture and helping create a climate where artistic experimentation is respected; 3. to instruct and inspire young artists to become leaders in their fields; 4. to present art at the cutting edge. 9 These goals are used to guide the Season Selection Committee and the Department when deciding on Partnership guest artists and shows. Bryon Winn, who is currently the Director of Theatre for the Department of Theatre Arts, has an additional goal he considers when working with the Season Selection Committee to make this decision. Winn aims to bring a genre of theatre that the Department does not offer. In the case of Rome Sweet Rome it was hip-hop theatre a style of theatre that was produced once prior to 2016 as part of the Partnership in the Arts Program. 10 During the academic year, with these goals in mind, the Season Selection Committee worked with Winn and the Department faculty to select the Mainstage Season, which included a Partnership production. Winn noted, that many 8 Department of Theatre Arts, "Partnership in the Arts," College of Liberal Arts and Sciences Theatre Arts, last modified Department of Theatre Arts, "Partnership in the Arts". 10 The Seven adapted by Will Power and directed by Steven Sapp produced in February

15 of the Partnership productions and relationships, are incubated over time. 11 Therefore, more often than not there is a list that Winn and the Committee work with to determine whom they would like to bring to the Department. In the case of the Q Brothers the Department had not produced hip-hop theatre in over ten years and Winn and Jax have a long-standing relationship, as Winn has known Jax since he was a child. Additionally, Jax is an alumnus of the Department of Theatre Arts. 12 However, before the Q Brothers were brought in for Partnership, Jax and JQ visited the Department in the fall of 2015 and put on a workshop with Theatre Arts students another part of the incubation process which acted as a test run for both the Q Brothers and the Department. The workshop was a complete success. Winn had several students approach him following the workshop expressing their enjoyment and engagement. 13 Since the workshop went so well and the Q Brothers were interested in the Partnership Program, it was clear to both Winn and the Committee that a hip-hop musical adaptation of Shakespeare would be our next Partnership production. Following the workshop Winn searched for a way to make this Partnership happen. He said that it was daunting at first because it is atypical for the Department to have four guest artists in residence as part of Partnership because the cost tends to be too high. But by cutting the production budget, shortening the timeline of the process, and therefore the Q Brothers time at the University, the Department was able to produce Rome Sweet Rome. 14 And as it turned out the shortened timeline was mutually beneficial 11 Bryon Winn (Director of Theatre) in discussion with the author, November 3 rd, Bryon Winn (Director of Theatre) in discussion with the author, November 3 rd, Bryon Winn (Director of Theatre) in discussion with the author, November 3 rd, Bryon Winn (Director of Theatre) in discussion with the author, November 3 rd,

16 as the Q Brothers had other commitments in October, which included a music festival in Austin, Texas and rehearsals in New York City for Othello: The Remix. Why Produce a Julius Caesar Adaptation In addition to Jax s ties to the department and the successful workshop there was another significant factor in the selection of both the Q Brothers and a shortened production timeline. It was known in 2015 that Shakespeare s First Folio would be on display at the Main Library in the 2016 Fall Semester. Therefore, prior to selecting the Q Brothers, the Department had already committed to producing a Shakespeare play in honor of the Folio. Following this commitment it was up to the Season Selection Committee to determine which Shakespeare play would be produced and how it would be produced. Then the Q Brothers workshop occurred and the how was answered. The Committee proposed Julius Caesar to the Q Brothers because 2016 was an election year. The Q Brothers agreed and the creation of Rome Sweet Rome began. 15 The Premise of the Show The Q Brothers used the current political climate in the United States as inspiration for Rome Sweet Rome. They intertwined Julius Caesar s ancient Rome and modern day Washington DC. As a tribute the beats reflect the Golden Age of Hip Hop, which was in the late 80 s and early 90 s. With humor and some classic 90 s dance moves, referenced as Roman citizens, the audience witnesses Caesar s campaign, Brutus and Cassius plot against Caesar, Caesar s death, Brutus and Cassius deaths, and finally the election of Octavius Caesar. 15 Bryon Winn (Director of Theatre) in discussion with the author, November 3 rd,

17 PROJECT OVERVIEW: STAGE MANAGEMENT PERSPECTIVE As I prepared to begin the Rome Sweet Rome pre-production process I thought about the potential strengths and weaknesses of this project. I was working with four directors, something I had never done before. Not only that, I was working with four directors who regularly work together on a devised production. Although I am familiar with devised work, I did not know the Q Brothers process and how they created their work. Finally, there was the budget, which almost always is a form of constraint in theatre, and was a constraint for Rome Sweet Rome. Four Directors My past production history has consisted of managing multiple voices in the room. I have managed combinations including director/music director, director/music director/choreographer, director/playwright, and director/music director/playwright/composer, but I had never managed four directors, who were also the music directors, composers, playwrights, and choreographers collaboratively. I knew managing four voices with equal authority in the room was a potential challenge for me. I did not foresee conflict, but part of collaboration is disagreement and working through that disagreement together. Moreover, I was considering how I, as the stage manager, would enter these conversations and this kind of collaboration. I knew that I would find my place in this dynamic once I was in the rehearsal room working with the Q Brothers and observing their process. Yet, I was reassured prior to entering the rehearsal room because the Q Brothers are professional collaborators. Collaboration is what they do, and not only that, but they are collaborators who know each other well, like brothers, and successfully work together on a regular basis. 7

18 Devised Process I had similar thoughts when it came to preparing myself for a devised process. Having stage managed new work before I was aware of the writing process: writing, rewriting, rewriting, rewriting, and rewriting some more. However, I had never stage managed a devised piece where what happens in the rehearsal room informs both the writing process and structure of the show. Therefore I was eagerly waiting to discover not only what my role would be as stage manager of a devised production, but as stage manager of a devised production with the Q Brothers. They have a successful process, but I did not know what that process was. Prior to their time at the University of Iowa they had created a devised production under similar circumstances a production with a large cast, in comparison to their typical two to four person cast size, in a university setting one other time, I Heart Juliet conceived in 2012 at Connecticut College in New London, Connecticut. 16 Knowing they had worked in a similar setting and with college students was encouraging. Budget A small budget can be a constraint in theatre, and in this instance, I think it provided our designers and production staff with an additional challenge but played to the strengths of the Q Brothers aesthetic. The Q Brothers have a simple and raw aesthetic. They embrace the performance space, they use base costumes with simplified pieces to indicate different characters, and minimal props. The Q Brothers explained this to our production and artistic team, but I had also discovered it when I researched some of their 16 Q Brothers, Our Plays. 8

19 past productions. In viewing images, presented in Appendix B, and videos I could see the simplicity work to their advantage. 17 Their primary goal is to tell the story. Therefore, I had confidence that a small production budget was going to work well for this project. 17 Q Brothers, YouTube, Accessed August 7,

20 PRODUCTION CHALLENGES Devised Process Every production has challenges, however because of the nature of devised work, the challenges for Rome Sweet Rome were very specific to this process. The Q Brothers arrived at the University with an initial draft of the script a literal line-by-line translation of Shakespeare s original Julius Caesar to hip-hop. Once rehearsals began the Q Brothers continued to write and develop the script, adapting the story and characters. Because the writing relied so heavily on the rehearsal process, the production and artistic team were informed that they would not receive a complete script until rehearsals were well underway. This meant it was up to stage management to keep the production and artistic team informed of the process and development of the show. The devising peaked during weeks two and three of rehearsal, meaning this was when the show developed and changed the most. Nevertheless, devised work remains challenging throughout an entire process. Although most of the devised work for Rome Sweet Rome occurred during the rehearsal process, there were pieces that did not come into effect until Tech. One of the amazing aspects of Tech is no matter how complete or incomplete the show is, a lot comes together in a short period of time, which was especially the case for Rome Sweet Rome. The team received a new and for the first time complete draft of the script the morning of our first Tech rehearsal. The end of the show was staged in the first several hours of Tech and the closing number, which was introduced that morning became part of the cast warm-up to allow them to regularly rehearse it. Samples of reports documenting the devised aspect of the process and the challenges faced may be found in Appendix F. 10

21 Casting Casting for Rome Sweet Rome occurred the weekend before our first rehearsal on Monday, August 29 th, but because it was devised and the Q Brothers work in such a unique form, specific character assignments were not immediately made. Twelve actors were cast with the idea that character assignments would be determined in week two or three of rehearsals. By the middle of week two the Q Brothers announced the initial character assignments. However, these assignments were made with the understanding that characters were in flux some would be added, some removed, and storylines would change. And that was exactly what happened. During weeks three and four of rehearsals there were character shifts: two characters were added and quickly removed, minor characters were added, and the characters Lucy and Tilly emerged. Throughout the entire process, there was only one instance where actors were switched to different roles, and this occurred once both Lucy and Tilly s storylines developed. The most immediate concern with the actor switch was informing the costume designer, Brittany Dee Bodley. However, because the actors wore the same base costumes and only used small pieces to indicate individual characters, the late change in casting did not disrupt the design process. The final cast list is presented in Appendix B. Preparation & Shortened Timeline Normally prep week is one of the busier weeks for a stage management team. However, for Meg Sugden, my assistant stage manager and I, prep week was one of our lightest weeks because we did not have a script and therefore, could only prepare paperwork templates, a contact sheet, and actor packets. Without a script for a character/scene breakdown and production analysis, and without assigned roles for the 11

22 actors, stage management was left with minimal preparation tasks. However, stage management was well aware that minimal prep work meant that the workload would significantly increase later in the process. A typical Mainstage production in the Department receives five weeks of rehearsal and one week of tech and dress rehearsals, but due to the Q Brothers schedule and the cost of paying and housing four guest artists it was agreed that Rome Sweet Rome would have a shortened rehearsal timeline four weeks of rehearsal and one week of tech and dress rehearsals. The shortened rehearsal process added some additional pressure to the production. The Q Brothers knew they had a short timeline to write, develop, compose, direct, and choreograph. The production and artistic team knew they had a shorter time period for creating and implementing designs as The Q Brothers requested that the design process begin once they arrived in August, two months later than normal. The actors were aware that they had less time to develop characters and learn their lines. And stage management was aware that this additional pressure could mean a hectic process for all involved. The shortened rehearsal period meant an expedited process for stage management. Deadlines came earlier than expected, but it helped me remain open and flexible, and forced me to predict the needs of the show before I knew what they were. The Tech Request was due before the ground plan was finalized, so with the permission and flexibility of the production team the deadline was extended an additional week. Similarly, the Tech Schedule was due while the script was still under significant development. It was clear that Tech time would be needed to work on the script and staging, but it was unclear how much time would be needed. A Tech Schedule was set, 12

23 but it was not until the production meeting before the first day of Tech that a plan was made. The middle of the rehearsal process is typically when Tech becomes more of a focal point for stage management. However, the nature of the rehearsal process and the state of the script allowed for minimal preparation. Knowing that a new draft of the script was coming the morning of Tech, I waited to put cues into my book until that morning. I have worked with designers who have cued during Tech, so not having cues ahead of time was fine for me. I had mentally prepared myself to accept where we were in the process and remember that the script development was more important than me learning the cues on our first day. Coming to this understanding ahead of time significantly decreased my stress level. Sometimes that stress negatively impacts me, but being completely honest with myself, something I had done from the beginning of the rehearsal process, and being open to whatever came my way significantly improved my mentality and lowered my stress level. A sample from my final calling script is available in Appendix D. Budget A typical Mainstage production budget at the University of Iowa can range from $10,000 to $20, The production budget for Rome Sweet Rome was fifty to seventyfive percent smaller than that at $5,000, which needed to be shared between the scenic, costume, lighting, and sound departments. The designers were made aware of this, and therefore made significant effort to keep costs as low as possible. 18 Bryon Winn (Director of Theatre) in discussion with the author, November 3 rd,

24 In order to accommodate the low budget, a lot of the scenic structures were pulled from stock. Costumes made an effort to pull from stock as well, but there were specific character pieces that needed to be purchased. And sound needed to purchase a deejay rig. These costs made staying within the budget a challenge, so Rick Loula, the Production Director of the Performing Arts Production Unit, was able to provide an additional $1,000, which increased our budget to $6,000. Four Directors Due to outside obligations, there were stretches throughout the rehearsal process where two of the four Q Brothers were out of town. On those days there were fewer voices in the room. Yet no matter how many directors were in the room, two, three, or four, they were always working in sync. Having two directors out of town was exhausting for the two that remained. With fewer opportunities to switch out leading the rehearsal, the Q Brothers who were in rehearsal were working non-stop; they were leading rehearsals, writing, choreographing, and composing beats. The two out of town helped with the writing and composing, but working long distance made consistent communication difficult. 14

25 PERSONAL LEADERSHIP AND COMMUNICATION GOALS For me, especially as a stage manager, communication and leadership are codependent. I use both on a regular basis as clear communication allows for effective leadership. In my eleven years as a stage manager I have and still continue to develop my communication and leadership skills. I have worked towards being more direct and upfront in my communication and I have sought opportunities to educate myself in all aspects of a production, from acting to design, in order to expand my vocabulary and become a more understanding and knowledgeable leader. As the stage manager I am the hub of communication. I am the direct link between what happens in the rehearsal room and the production and artistic team. Therefore, effective leadership and communication are necessary for my success and the success of the production. Stage Management Team Dynamics I began thinking about this production the day I was assigned it in the spring of As a stage manager there are some goals that I typically carry with me from production to production, but I also take the opportunity to think about what an individual production might mean in terms of my own personal goals. For Rome Sweet Rome I knew I wanted to make changes in how I interacted with an assistant stage manager, so I immediately put effort forth in creating an open mentorship/partnership with Sugden, the assistant stage manager. It happened that Sugden was visiting Iowa City in early May, and even though Rome Sweet Rome was three months away, I wanted to begin to establish our relationship and team dynamic. We met over coffee and I explained my expectations. I prefer to give assistant stage managers independence and ownership of their work. I do not expect them to know everything, so I expect them to ask questions 15

26 when my requests are unclear. I believe in working as a team and maintaining an open dialogue about the show. I explained all of this to Sugden. I also explained how I view the roles of the stage manager and assistant stage manager as far as the tasks that I would expect to be completed by each of us. I then explained the nature of the process, at least what I was aware of at that point in time it was going to be devised and there would probably be a lot of unknown information, so we would have to be open and able to adapt as needed. Sugden was completely responsive to everything we discussed and noted she had similar views. Having this conversation well in advanced and being clear in my expectations was new for me, but it established a strong foundation for a successful team dynamic. By the middle of the rehearsal process the stage management team had found a rhythm. We discovered that we work similarly as stage managers. We are both observant and aware of the room and we both prefer to maintain a calm yet positive energy and atmosphere. We became a collaborative team. We would brainstorm solutions to problems together and take turns doing the grunt work which frequently included printing new script pages. It was refreshing to work on a team where stage manager and assistant stage manager complemented each other so well. Although I have experienced that dynamic before, this was the first time it had been on a team I was leading. The stage management team dynamics thrived throughout Tech and the run of the show. Both assistant stage manager and stage manager perpetually checked in with each other. There was an open and direct line of communication throughout, which brought ease to maintaining the team dynamics and the show itself. What may have strengthened the team was Sugden s vigilance and consistent presence during Tech. She remained 16

27 present and available throughout the Tech process, which allowed me to focus more on the cues and teching the show. However, an unexpected challenge arose the first weekend of performances. Sugden left town for two days after Opening for a family emergency. During that time, Production Stage Manager, Melissa L. F. Turner, covered for her. This was my first experience with a planned takeover. In the past, I have rearranged crew members to cover someone who was absent, but I have never had to facilitate a stage management takeover until Rome Sweet Rome. Fortunately, this was a planned takeover. Turner was able to watch the show, shadow Sugden, review paperwork, and plan out the takeover. I was more removed from the takeover itself, but had to learn how to communicate with a different assistant stage manager who was less familiar with the show. Overall, it was a success. It was a smooth and easy transition from Sugden to Turner and then back to Sugden. They communicated very well regarding paperwork and expectations, which resulted in less stress for me. A sample from Sugden s final run sheet can be found in Appendix E. Overall, the stage management team dynamics were a success. Having a team of two stage managers with similar personalities we are both generally positive people, was a major contributing factor. We worked similarly and brought the same passion and energy to the rehearsal room. Communication remained open as Sugden continuously asked questions and showed an interest in learning from this experience. And the Q Brothers, the production and artistic team, and the cast trusted both of us, which defines success for us as stage managers. 17

28 Managing Production & Artistic Team As a stage manager I am in a leadership position. Part of that leadership is keeping the production and artistic team informed and working with the same understanding of the show. The team on Rome Sweet Rome was eager to work with the Q Brothers, which helped the design and construction processes run smoothly. Flexibility was crucial. Part of my job in pre-production was to make that understood and make it clear that this would not be a typical process. Although I was leading first year graduate assistant designers through a Department production process for the first time, the rest of my team consisted of designers and production staff very familiar with the Department and production procedures, which made flexibility much more feasible. Being a third year graduate stage manager on this project also helped me in this particular situation. I entered the production process with established relationships with all members of the production team and almost all of the artistic team, except Brittany Dee Bodley, an alumna of the Department, and the Q Brothers. Because Bodley and the Q Brothers were not as familiar with the production process, part of my leadership was using my knowledge to familiarize them with the Department and production procedures. By the middle of the rehearsal process designs were well underway and decisions were being made despite the production team having minimal information and the script still in development. The production team and designers remained flexible with no complaints. Documentation of my management of the Production and Artistic Team may be seen in a sample of Production Meeting Minutes found in Appendix G. My leadership of the production and artistic team consistently challenged me. I specifically learned how to seek information for the team when questions were asked that 18

29 I could not answer, whether it meant I was more vigilant in rehearsal or asked the Q Brothers questions about where the script and characters were heading in relation to the overall development of the show. Managing the Cast & the Deputy The delayed assignment of roles led to some cast concerns. They were aware of the shortened production timeline and were concerned that they would not have sufficient time to learn their lines, their blocking, the choreography and develop their characters, but fortunately the day the deputy 19 approached me was the day casting was announced. However, about a week and a half before Tech the cast became concerned with how much the script had changed and with the fact that they had not received the last third of the script. The deputy discussed these concerns with me, which I then brought to the Q Brothers. The Q Brothers reminded the cast that these last minute changes and additions were part of the process significant rewrites are normal and expected up to Opening on a production like this. They reassured the cast that they knew they could handle the changes and the new pages to come. Paul Kalina, Head of Acting, specifically spoke to the five graduate actors in the cast and noted that this was typical for Partnership productions and encouraged them to trust the process. Speaking to the cast seemed to calm some of their nerves, and helped bring the focus back to the work at hand developing a new script. 19 The deputy is a member of the cast publicly elected by a majority vote. The deputy s responsibilities consist of assisting in the enforcement of union or, in this case, departmental rules and act as an advocate for the cast. If concerns arise, the deputy is instructed to report them to the stage manager who may either help alleviate the concerns or bring the concerns to the appropriate person. Every production produced under Actors Equity Association, the professional union of actors and stage managers, elects a deputy. Similarly, the cast of each Department of Theatre Arts production at the University of Iowa elects a deputy. 19

30 Show Maintenance Something new the Department did with Rome Sweet Rome was scheduling three weeks of performances. Typically Mainstage productions run for two weeks. With this in mind, I began the pre-production process thinking about what I needed to do as a stage manager to plan for a longer run. Moreover, the Q Brothers were scheduled to leave once the show opened, which meant the maintenance of the show would be my responsibility for the first time in my career. My primary approach to this preparation was taking detailed acting and directing notes and specifically notating terminology and phrases the Q Brothers used when communicating with the cast. Following the first day of Tech, GQ and JQ ended their residency in order to travel to New York for business related to Othello: The Remix. Jax and Pos remained through Opening Night. Even though the Q Brothers were not physically present for the run of the show, they still maintained regular contact with the show. JQ and GQ Skyped in on Opening. I was able to place my laptop in the booth window so that they could watch the show. Pos Skyped in once a week, each Thursday, to help with maintenance and give notes to the cast. Unlike my past experience with show maintenance, this process pushed me into a new leadership role: the primary note giver. As a result I put additional effort toward learning the cues so that I could focus more on the action onstage rather than my book. Since there were no directors present, I had to pay close attention to the performance each night. I have given notes during performances for other productions before, but because Rome Sweet Rome ran for three weeks, I ended up giving more notes than I had previously. By the second weekend of performances I had gained confidence in my note 20

31 giving. I referred back to notes I had taken during rehearsals and learned to trust my instincts. If something felt wrong I learned to trust that feeling and approach the actors with certainty, but in the form of questions. More often than not, when something goes wrong in a performance, although I know it is crucial to acknowledge it, I am more interested in what was different and circumstances that contributed to the performance going astray. I used this approach with the Rome Sweet Rome cast. I noted what looked or felt off and then examined it in conjunction with the actors. The biggest boost to my confidence came when Pos Skyped in to watch the show for the first time. The following day I read through his notes and compared them to mine, and discovered we had similar observations. This reinforced that what I noticed was accurate and important. Throughout the three weeks of performances I gave line notes, cleaned up choreography, reminded the actors to raise the stakes something often noted in rehearsals, and learned to be more specific with the notes in my reports. I began to learn how to report inconsistent performances without being too negative and calling out actors unnecessarily. This is certainly an area of stage management I am still working on, but know that this production contributed greatly to both my confidence and knowledge. Company Management & Primary Contact In addition to my responsibilities as stage manager on Rome Sweet Rome, I was asked by Winn to complete some basic company management tasks. The largest task asked of me was to maintain the Q Brothers schedule. Throughout their residency they were scheduled to participate in several events, including a lecture as part of the University of Iowa Creative Matters Lecture Series, a workshop at City High School in Iowa City, and a workshop at Hawkeye Community College in Waterloo, Iowa. The 21

32 company management work added to my workload, but I enjoyed it. It helped develop my relationship with the Q Brothers because it required me to maintain communication regarding topics beyond the show. Moreover, it allowed me to use my organizational skills to help them beyond what I do as a stage manager, which was satisfying. In an attempt to protect the Q Brothers time and remain organized, it was decided that all communication and scheduling related to the Q Brothers would go through me. I coordinated the outreach events and meetings requested by marketing and the designers. When designers, such as R. Eric Stone, the scenic designer, had updates or questions, they were sent to me and I would pass them along to the Q Brothers. When Kristan Hellige, the marketing coordinator, was setting up interviews she coordinated them all through me. This meant communication was even more crucial than normal and that my leadership role within the production and artistic team was elevated. An added challenge to my situation was that I was communicating with four directors. As with everything else, I knew that with time a pattern of communication would be established, but initially during pre-production I had to navigate how to communicate with the Q Brothers. quickly became my primary form of communication with them. They were very responsive, which made completely reliable, but in moments when I needed a response immediately, I had to decide whom to call. Being the stage manager, the primary contact for the Q Brothers, and part company manager facilitated a stronger relationship between the Q Brothers and myself. The combination of these three roles worked well for this process. It generated less disruption for the Q Brothers since I would present them with questions and information 22

33 at selective times. I would try to save as much as I could for when I saw them in rehearsals, so that their days, the time they would write, compose, and choreograph, had minimal disruptions. I enjoyed this combination of work. 23

34 PERSONAL ORGANIZATION GOALS Script My major organization goal for the production itself was managing the script and rewrites. Although I had previously stage managed new works, I knew this process would be different because it was devised and there was no set timeline for the script and rewrites. I also knew I would have to track blocking between different versions of the script. My approach to this challenge was to discover the best organizational practices throughout the process and adapt as needed. With so much unknown I set a goal of being flexible in my organization. By the middle of the rehearsal process rewrites were occurring almost daily. Managing the script became my greatest challenge. By the end of week two I was working from three versions of the script. My blocking was scattered between those three drafts and I did not have time to move everything to one script. The pagination changed with the addition of new pages and rewrites, so keeping everyone on the same page, literally, was an additional organizational task for stage management. I had decided that since the script would be changing so much, I would try not using a binder until later in the process. Generally, this system worked. It was easier accessing blocking that was in the various drafts. However, not having a binder made me feel less organized than I actually was. Since managing the script rewrites was one of the more challenging aspects of my work on this production, on a future production I would find a system for managing the pagination changes. Because the Q Brothers work collectively and often work long distance it is necessary for them to write in a program that allows for immediate updates 24

35 and multiple users to work on the document at the same time. Currently, one of the best applications for this is Google Docs, which is what the Q Brothers use. But it was Google Docs that made the management of script rewrites so challenging because a Google Doc is a living, working document. It allowed the Q Brothers to easily collaborate and rewrite, but resulted in constant pagination changes. However, I think if I were to work with a script in Google Docs again, I would maintain my own copy in a Microsoft Word Doc where I could control pagination and easily track rewrites and cuts. Because rewriting was a major component for the Q Brothers, I am not sure I could have avoided working from multiple drafts of the script, unless I had the time to regularly transfer blocking from one script to the next. By the time the show opened I was working from four drafts of the script. Surprisingly I was able to keep myself organized and found myself using all four drafts in my preparation for pick-up rehearsals, but the next time I stage manage a similar production, I would put more effort towards consolidating blocking into each new draft of the script as it would help me feel more organized and become even more familiar with the show. Time Management & Personal Organization On a more personal level I knew I would be faced with keeping myself organized throughout the production process. I was stage managing this show, with the added responsibility of part-time company manager, teaching Stage Management I, and attending classes and keeping up with my classwork and projects. I was in a position where I wanted to give one hundred percent to everything I was doing, but limited hours in the day would not allow me to do so, even with effort made in time management. 25

36 Looking ahead I knew it would be difficult, but I knew if I could stay organized I would be able to accomplish what was necessary. Staying organized was relatively easy mid-way through the rehearsal process. It is one of my strengths as a stage manager. The Reminders application on my phone and sticky notes were my primary organizational tools. Sleep became an additional factor as it makes a difference in my ability to stay organized and focused. I made sure I slept a minimum of five hours a night. It was not nearly enough sleep, but I was able to maintain that regimen. During Tech maintaining my schedule was challenging. I had to maintain a give and take relationship between my production work, classwork, and teaching. I often sacrificed grading my students assignments knowing that I could easily catch up once the show opened. It was the most flexible item on my to-do list. Existing as a stage manager, teacher, and student forced me to prioritize more than I have had to in my graduate school career. My schedule was hectic and full for the two and half months I spent on Rome Sweet Rome, but I feel as though I was successful in my co-existence. I wish I had been able to spend equal and more time on my teaching, class work, and production work, but I did the best I could with the energy and time I had. 26

37 NEW CHALLENGES Managing Illness An unexpected challenge that arose during Tech was combating a terrible cold. The night of crew training, which was the night before the first day of Tech, I felt symptoms arising. Assuming it would be an average cold, I did what I could to boost antioxidants and vitamin C, but it turned out that it was not an average cold. I began Tech feeling ill. My head was foggy, I could not hear myself, my energy was low, and by midday I had developed a cough. I had not felt that sick in a long time. Nevertheless, as a leader, I knew I had no choice but to do everything in my power to keep my energy up, refrain from complaining, and push through. The biggest challenge I faced was calling with a cold. I had no idea if I was loud enough over headset because I was unable to hear myself speak. Fortunately tea and my general drive to focus and work helped me maintain my energy throughout the day and stay positive. Monday night, our first dress rehearsal, I still did not feel well. I had managed to stay home most of the day to rest, but was at the lowest point of the cold. Winn, who was the lighting designer on this project, taught me a valuable lesson: sometimes a little Sudafed can go a long way. I had never taken Sudafed before because I would rather use natural remedies and allow a cold to run its course, but I needed to push through the week, so with the help of Turner, the Production Stage Manager, I took some Sudafed and called the show. It took over a week for me to fully recover, but with the Sudafed I was able to focus and not have to work so hard to keep my energy level up. 27

38 Hip-Hop Beats Since Rome Sweet Rome was a hip-hop musical, a genre of theatre I had never experienced before, I was introduced to a new rehearsal tactic. The beats were generated electronically on a computer; there was no sheet music. As a result I had to rely on counting the beats more so than I have on past musicals. I did not have sheet music to follow, so in rehearsals I listened to the Q Brothers talk about the beats and count them for the cast. I learned to feel the music, something I always try to do on musicals, but with the crutch of being able to follow the notes on a page. I found this challenge engaging and noticed that counting and listening to the music this way allowed me to spend more time watching the action on stage and not the cues in my book because I learned where cues fell rhythmically. Touring Stage Manager Once the show opened, I took an additional role with the production: touring stage manager. The cast was asked to perform at three events during the run and after the show closed: a Department recruitment event, an event at Hancher Auditorium, and an event for the University of Iowa Foundation. Because music was necessary for these performances I also became the sound technician and operator. As touring stage manger I held short rehearsals with the selected cast members prior to each event. In those rehearsals we selected the performance material and made necessary adjustments. At the second event my role expanded and I became part performer too. An actor who had committed to the event did not show up, and so I filled in. These events provided me with additional management and organizational opportunities. It was supplementary work, but I was happy to support and promote the Department and the Q Brothers production. 28

39 A FINAL NOTE ON THE PRODUCTION Rome Sweet Rome, although a fully devised production, came together very well despite a limited budget, shortened rehearsal process, student actors, and a shortened creative process for the Q Brothers and the designers. The Department was pleased with the end result, as it was more complete than some expected it to be. A selection of production photos may be found in Appendix C. I would like to end this thesis by stating how much I enjoyed this production. It was fun and artistically fulfilling. It reenergized me and reminded me why I love being a stage manager. I am beyond grateful to the stage management committee for selecting me for this opportunity and to the Q Brothers, as it was one of the most rewarding and worthwhile projects I have completed. 29

40 EPILOGUE Graduate school has been an endless road to discovery. In my time at the University of Iowa, in the Department of Theatre Arts, I have found my stage management persona. I have become aware of how I stage manage and how my style is different from others. I have developed my paperwork; I have taken the time to experiment with both Microsoft Word and Excel and found a clean, simple aesthetic that I like and now carry throughout all of my paperwork. I have developed my leadership skills. I feel as though I have come into my own in my third year. My confidence has significantly improved and I have pushed myself to take risks and challenge myself. I have found opportunities in which I have been able to offer my help and advice to undergraduate students and my fellow graduate stage managers. And finally, I have gained a vast range of experiences from new work, devised work, ever-changing team dynamics, etc. that have made me a better stage manager, teacher, student, and person. 30

41 APPENDIX: SELECTED IMAGES & DOCUMENTATION Appendix A: Final Cast List & Production Personnel Figure A.1: Final Cast List Rome Sweet Rome Cast List JaMaya Austin Leela Bassuk Tempestt Farrar Holly Grum Randryck Lewis Natalie Lurowist Christopher Ray Matheson Sydney Speltz Sage Spiker Chris Walbert Greg Walker Shelby Zukin Tre Bone / Lucy Flavius Flav / Portia Purny Anne Marellus / Tilly / Cicero Chuck D / Brutus Soothy Sue/ Casca Metta C Pimp Caesar / Octavius Tony Cassius DJ 31

42 Figure A.2: List of Production & Artistic Team Rome Sweet Rome Production Personnel Artistic Team GQ, JQ, Pos, Jax Samantha Paradis Meg Sugden Writers / Directors / Choreographers / Composers Stage Manager Assistant Stage Manager R. Eric Stone Scenic Designer Kenton Jones Brittany Dee Bodley Lindsey L. Kuhn Bryon Winn Forrest Tallbull Live Sound Consultant Assistant Scenic Designer Costume Designer Assistant Costume Designer Lighting Designer Assistant Lighting Designer Andrew Stewart Production Team Production Director Production Stage Manager Technical Director Scene Shop Supervisor Scenic Charge Artist Properties Manager Properties Artisan Rick Loula Melissa L. F. Turner Ojin Kwon Robert Durham Kaitlin Younger Katy McGlaughlin Dean Wicklund 32

43 Costume Shop Manager Costume Tailor Electrics Supervisor Audio and Video Supervisor Marketing Coordinator Megan Petkewec Barbara Croy Dan Meltzer Brent Garrett Kristan Hellige 33

44 Appendix B: Photos of Q Brothers Work Figure B.1: A Q Brothers' Christmas Carol Photograph from Chicago Shakespeare Theatre s production of A Q Brothers' Christmas Carol, December Chicago Critic. 34

45 Figure B.2: Chicago Shakespeare Theatre s Othello: The Remix Photograph from Chicago Shakespeare Theatre s production of Othello: The Remix, April 15, Stage and Cinema photograph by Michael Brosilo. 35

46 Figure B.3: Othello: The Remix Off-Broadway Photograph of 2016 Off-Broadway production of Othello: The Remix at the Westside Theatre, November 16, New York Times photograph taken by Sara Krulwich. 36

47 Appendix C: Production Photos Figure C.1: Rome Sweet Rome Opening Number Photograph of University of Iowa Depart of Theatre Arts production of Rome Sweet Rome, September 27 th, Photograph taken by Miranda Meyer. 37

48 Figure C.2: Rome Sweet Rome Caesar s Death Photograph of University of Iowa Depart of Theatre Arts production of Rome Sweet Rome, September 27 th, Photograph taken by Miranda Meyer. 38

49 Figure C.3: Rome Sweet Rome Full Stage View Photograph of University of Iowa Depart of Theatre Arts production of Rome Sweet Rome, October 14 th, Photograph taken by R. Eric Stone. 39

50 Appendix D: Sample Calling Pages Figure D.1: Top of Show Cue Sequence Bum Rush the Show 40

51 Figure D.2: Challenging Cue Sequence - Caesar's Rally 41

52 Appendix E: Run Sheet Figure E.1: Sample of Run Sheet Top of Show Used courtesy Meg Sudgen 42

53 Figure E.2: Sample of Run Sheet - Middle of Show Used courtesy Meg Sudgen 43