Stage Managers– How to Toss Them a Bone - by Annette Warner

Spring and fall or prime festival times and everyone is chomping at the bit to get on a stage at the most attended and popular ones. Even the small town ones have no trouble finding musicians to play. And it goes without saying; there are more musicians than festivals to go around. Developing a positive alliance with stage managers is critical to your success.  In an industry where being an insensitive jerk is second nature most of the time…nothing is more appreciated than professionalism with kindness attached. It’s aggravating and unrewarding for a stage manager to work their buns off on an event, having strategically booked, and timed the acts, precisely scheduling speakers, give-away times, raffle times, buffer time for the unexpected; etc. Then have to deal with the "Crash and Burn" band, that because of being unprepared, with overly difficult set-ups, misplaced displays of arrogance and "wait for me" attitudes, just a whole gamut of nightmares, well…it all comes crumbling down. And guess who looks bad! Not the musician...Because it's easy for them to blame the sound person and be believed.

Well as a stage manager, you know what I think? You don't have to deal with that. And you shouldn't. I have bumped or reduced the stage time of more than one act from a stage that did not show up on time - or took too long to get ready or acted like a jerk, yelled at me or treated my assistants like crap. I actually had an opening woman performer use half her stage time to tune up and then had such an attitude when I shut her off she left and refused to support anyone else booked at this gig – and she was the first one to perform. As a result of that behavior, I will never book her again. And don't think the audience didn't notice her storming out, and to this day, too many people still remember this woman's behavior. And they bring it up! Some 3 years later! I'm sure it doesn't matter to her. In my own words, she's an arrogant, pompous jerk. But it does matter. Because it was a new market, and about 60 people won't forget that she walked out on people in a huff, they were there to see (because they didn't know her). It was a CD buying crowd too. I'm sure she resented traveling to play only to get shut off...But she didn't treat me or anyone else very well...she didn't listen or respect the rules, so that's the price she paid.

Some people may say  ..."Eh relax...isn’t a big deal....it's the nature of the beast." Well, no it isn't.  And anyone with that attitude needs to re-think their role in playing for a showcase requiring a certain set of priorities – Which should be; putting on a talented, timely and organized show.

Look at your individual situations and use common sense and foresight for the show and it's obligations before reacting. My no-nonsense approach to stage management sure nets me some organized, stress free, hi-quality, smooth-running shows. And if you follow these guidelines, it will help you too. And if you don't have the qualities necessary to say "no"...then find a sidekick that does. It's imperative to your success as a stage manager. Now everything doesn't run perfect all the time. THAT is the nature of the beast...but you can control the controllable and be consistent with your management skills enough to not have the bad be so bad.

Communicate clearly with all acts in one mass email, or one mass mailing, all details of the show at least 2 weeks prior to the event. . And ask for return receipts that they have read your communication. Explain to them that if you do not receive notification that they have read their confirmations, you have no idea they have. And it may jeopardize their time slot. Details of the show should be:

1. A link to a map of where the stage is.
2. A schedule and a parking pass if required
3. A stage plan - list what equipment is being provided by the sound company
4. A list of what they are responsible for bringing; like their personal gear.
5. Telephone number to reach if there is a problem (stage managers must have use of a phone!)
6. Include the time slot details for the act. (Ex. Sundance Manor is playing from 1 - 2. This includes set up and breakdown time.) What this means is...onstage at 1 pm - offstage at 2 pm. So they will play approximately 35-40 minutes. 20 minutes is generally long enough for set up and tear down. And tell the band they need to move their ass with no lollygagging or autographs from the stage when they are done. That can be done offstage.
7. Any rules or regulations regarding the festival they need to know as well as your group of priorities so they know you aren't playing around and take your job seriously.
8. Let them know if beverages or snacks are provided...and how close they are to facilities.

 Longer stage times allow for bands to set up their own drums; etc...If they choose. But to be fair - when working with shorter times...have the sound company provide backline.

Include all information about parking, when and where load in times are. If parking passes are required, mail them NLT than 2 weeks prior to the gig and include a map quest route if needed. Many a musician has never made it to the stage because they didn't know where to park or where the stage was. It is the stage managers responsibility to make sure they know where it is and how to get to the stage. I have personally seen musicians at a festival with 5 stages, being handled by 5 different people, wandering around looking for where they belonged. Not cool.

Be explicit on what time you want them at the stage for sound check, and what time you want them to report prior to playing. I require they be present 30 minutes prior to their slot time. And report to me or my assistant so I know they are there. It's up to the musician to leave their home in time. But you must make it clear what the latest you need them there is. This time frame, it should be told, is part of their pre-set up time and the more stage time they use...the less singing and playing time they have. And being late may in fact jeopardize their appearance. You decide what sob stories to cave in to, but the clearer, more concise and consistent you are with your acts, the better response you'll get.

If someone is nearing the end of their time....be sure to catch their attention at the 5 minute mark. This tells them to wind down what they have, and not to start another one. Or, they continue with a very short song...if they are finishing up one. Regardless, if you are being disrespected and ignored...cut them off by fading out the mains. And have a microphone nearby to encourage a roar from the audience, and to announce the next act. It's only going to take ONE TIME of cutting someone off that didn't follow the rules of your time slots...and you can bet they won't do it again. I can't think of anything MORE embarrassing for a musician than being cut off in mid-song. But, be sure to let the musicians know this ahead of time....that they will be cut off if they ignore your wind down signal. Trust me, they will be more respectful next time - and they will pass the word, colored with a few of their own :) Problem solved!

Make sure you have qualified sound personnel. The show runs a lot smoother when the musicians can't blame the sound guy. And they will...at the drop of a hat. A string could break and it's the sound person's fault. Have a designated deadline when you need all acts specs for stage. Make sure that the sound company and musicians have each other's info ahead of time...and let them handle their business. I cannot stress accountability enough. If the musicians do not have time to take care of their acts pro info, then they don't need to be playing! The sound company should not have to chase down the musicians.

As the stage manager, you also get to dictate the integrity of the show. You get to decide if you are going to accept musicians that are acting ridiculous or late and obnoxious. I don't. There are too many performers out there that know how to treat people with respect for me to bow down to some arrogant, over-inflated musician. You have to set your parameters and follow them. If you are booking and managing the stage - It's simple...don't book jerks! And sooner or later they will learn you don't work with jerks!  If you refuse to work with a jerk 21 times...it becomes a habit. :)  If you are booking, managing the stage and managing the sound....you need help. Get it. That makes for an unpleasant and overworked stage manager, and you don't have time to deal with people effectively. Which is bad, since 95% of stage management is dealing with people.  

For the musicians:

Dealing with a Stage Manager can be a bit scary at times - but the relationship can be so easy! Not all stage managers are perfect, in fact...some just plain suck and, get this, they blame the musicians. And nine times out of ten, the attitudes some of them have are directly due to the years of putting up with the unappreciative and arrogant population of rock stars on the rise - and they expect jaded attitudes from all performers. But, even when it seems impossible to deal with, you don't have to cut your nose off to spite your face by being an ass because you happen to be dealing with someone that can't manage a snow cone machine, much less a stage. (Yes, they are out there) It's going to happen...so what can you do? After all, what is it about? You being able to play... right? So it truly is in your best interest to play the music game properly and with respect for those that ultimately make you. It's not the record labels...it's the people that let you play and help you look good on the way up!  

Some suggestions for a successful gig, wherever it is:

1. Show up when told to. If not told a specific time...ask. It's always better to be early.

2. Report to stage tuned, with fresh/already stretched strings when it's your time to play.

3. Avoid bringing computers and difficult accompaniment when you have limited stage time. It's beneficial to your career to understand where your music and set-up actually fits before you haul in your damn-near-home-studio of synths and computer tracks to play what was booked and suppose to be a “solo” show.

4. If you have not received any information about your gig, email or call everyday until you do. On behalf of the stage managers out there...sometimes things beyond them don't get done properly and they are left waiting too...so it's not always them, and they may not know certain things when it's ideal. Still, they should communicate with you a much as they know and be as respectful of your position as you are trying to be of theirs.

5. Show everyone patience and respect. It does matter and will make or break your future in the long run, somehow.

6. Do the work it takes to be there! And put on as great a show as possible, even in the worst of circumstances. And when faced with a nasty or rude stage manager, just be better behaved than them and try to help out your fellow musicians in some way that are dealing with it too.  It's always better to have a choice to return, than no choice to return. Bad stage managers end up going away eventually. Even if it’s only to a looney bin.

7. Take this by situation, but always make sure where applicable, that you get things in writing. Especially where money is involved in the contract.

8. Lastly; when being given a golden opportunity - for crying out loud....treat it like one! Your best impression doesn't have to end when your last song does.  Talk up a festival's stage manager or sound crew when they do a great job. Help make what they are doing a success, like you want their help. Mail them a thank you letter, tell them they made your experience so wonderful you’d love to work with them again. Festival organizers talk to other festival organizers. Hell, they even have annual retreats where they recommend acts to each other... and you got it...they tell each other who the jerks were too  :)  Can you really tell yourself that doesn't matter? Everyone has a bad day, now and again. Just consider it a growth experience to keep your mouth shut when you want to tell the sound guy he's ruining your gig, or the stage manager they didn't give you enough time. Be thankful - gracious and professional. And remember that a Pro can come out looking good, even when they get an egg in their face - because they will then be judged on their reaction to the egg in the face.

Articles are available for free reprint.  Please write to let me know you are using it and please use the following BIO and linkage for credit. 
 

  ABOUT ANNETTE WARNER
Annette Warner is the Editor for GoGirlsMusic.com, Founder of AcousticGoGirls.com; Publisher of several music related resource sites and a Wilmington, NC based Sales Copywriter, Web Designer, Singer-Songwriter, Event Planner and DIY Promotions consultant and resource bank for local and regional artists. She can be reached at awarnerentertainment@ec.rr.com and www.awarnerentertainment.com