Christabel Anderson, stage manager

 Christabel Anderson is an experienced stage manager who has worked in theatres across the country and on national and international tours, from the Traverse in Edinburgh and the West Yorkshire Playhouse to 59e59 in New York.

She has been assistant stage manager at The Woman in Black in the West End and resident stage manager at the Bush Theatre in west London, and is currently working as Company Stage Manager for an international tour (north African and the Middle East) of David Greig’s Damascus.

What is your job role?

I generally refer to myself as a Stage Manager, though depending on the production, I also work as a Company Stage Manager and a Deputy Stage Manager. I’m freelance and so am employed on a show-by-show basis. I currently work mainly on new writing but have also done musicals, opera, events and pantomime.

Can you explain what you do?

All plays have one or more stage management staff and they are responsible for making sure that the creative team’s visions for the technical aspects of the production are brought to life. An actor needs to be onstage in the correct place at the correct time, on the correct set, wearing the correct costume while holding the correct prop, in the correct lighting with the correct sound effect playing – it’s the stage manager’s job to make sure that all of that happens.

You start work on a show just before rehearsals begin and stay with it right until it’s all packed up at the end of the run. During that time you are the pivotal point of communication and are responsible for co-ordinating with all departments to make sure that the rehearsals, and then the performances, run smoothly.

You are the main point of contact for the acting company and play a big part in supporting the director. The stage management team are usually also responsible for finding and looking after all the props and furniture for the show; construction, wardrobe, lighting and sound often have their own staff but if it’s a smaller show you might find yourself covering all of those jobs as well.

Describe a typical working day.

I’m freelance so of course it varies hugely, but there are two basic types of day. The first is a rehearsal day where you will come in in the morning to set up and deal with any issues before rehearsals start. Then you spend the rest of the day either in the rehearsal room supporting the cast and director or working in the office dealing with company admin and finding all the necessary props and furniture.

When rehearsals have finished, you discuss what has happened during the day and write up and distribute notes to everyone involved in the production, as well as sorting out the schedule for the following day. You tend to finish in the early evening.

The second type of day is a performance day. You will come in later, probably not till the afternoon (unless there’s a matinee) and do all the required pre-show checks, putting all the props and furniture in the right positions and checking the technical departments are ready.

There also might be issues from previous performances to address, such as broken props, and pre-planning to be done, for example if the show is moving to another venue.

During the performance itself, you do all your cues as rehearsed. The stage manager will be 'on the deck' at stage level, doing scene changes and managing the wings while the deputy stage manager will be 'calling' the show – this means talking over headsets to technical operators, such as lights and sound, and telling them when to press their buttons.

After the performance, you write a report on how the show went, anything unusual that happened and distribute it to everyone involved. You will finish about half an hour after the show has ended so often not till around 10.30pm or 11.00pm, though it is customary to then go for a drink in the bar.

Career journey

What did you do before this?

I’ve been involved in plays since I was young and it built up through school and university into professional work. I haven’t had any other career.

What training/education did you go through, and do you consider it to have helped you in your career? If so, how? How did you learn your trade/craft?

I went to the University of Edinburgh where I did a History degree but spent just as much time in the student theatre putting on plays and running the building. This was a fantastic experience in learning how to work things out for yourself and in how to operate on a shoe-string budget.

I felt though that I would also benefit from official vocational training so I went to the London Academy of Music and Dramatic Art (LAMDA) and did the two-year Stage Management and Technical Theatre course. This training gave me a really comprehensive grounding in all the skills you need to work in theatre and great opportunities to practise in a professional environment.

Both at university and at LAMDA I met many of the people who have become my colleagues and part of the network who support my career. Moreover, my years in training helped to develop the teamwork and people skills that are so vital in a stage management job.

What has been your proudest achievement?

I once had to do a 'get-out' in Moscow, which involves packing the entire show up and putting it in a truck. With one interpreter, plus the 15 words of Russian I speak and school French, I managed a rather argumentative crew and got all the set and technical equipment taken down and put in the truck. At the same time I was supervising some quite bemused actors who were packing away the props and costumes. When that truck drove away from the theatre I was really proud that I had pulled it off.

Looking back over your career, what (if anything) would you have done differently?

When you’re freelance you often have to make decisions about which job to take and which to turn down, and also you don’t get every job you apply for, so there are many different ways my career could have panned out. I don’t regret any of the choices I’ve made but I do sometimes reflect on how things could have turned out if I’d made different decisions.

Professional development

Have you taken any useful training or personal development that has helped your career?

I’m a member of the Stage Management Association and they offer courses both on practical skills and on professional development. I’ve been on quite a few of these and they’ve always been immensely helpful.

Advice to others

What advice would you give somebody interested in getting into your industry?

I’d advise immersing yourself in theatre for a while so you can find out what it’s really like and if it’s for you. This means going to see as many productions as you can and also trying to get some work experience whether that be with a professional company or in student and amateur theatre. Then, if you’re sure it’s what you want to do, a vocational course will give you all the basic training and help you launch your career.

If someone was applying to work with you what skills and qualities would you be looking for?

I’d look for proven experience in similar jobs or if it was a junior role, suitable training. However, it’s just as important that the person seems friendly, reliable and engaged in the project.

Why do you think so many struggle to get into your industry?

There is a fair amount of competition and getting those first and second jobs can take a bit of persistence. Also, the hours are long and unsociable so unless you are really committed you won’t make it.

If you could offer one piece of crucial advice for people wanting to progress further in your industry, what would it be?

You have to be actively engaged in the theatre, going to see other people’s productions, keeping up with the news, being an active part of your union or trade association. Not only does this help with the ever-important networking, it also means you know what’s going on in the wider industry so you can contribute more fully and define your goals for the future.

The industry

What do you think are the issues affecting your industry at the moment?

The issue of wages is always present as theatre jobs are almost uniformly low-paid, particularly when you consider how long the hours can be. Also, there are constant political changes with issues such as funding, working directives and health and safety regulations.

What do you think needs to be done to tackle these issues?

Any job that people do for the love of it and not just the money, is always going to be less financially rewarding but Equity are going through a series of negotiations to improve conditions in all sections of the industry. We all need to play a part though in identifying situations which really are exploitative and making sure that employers are persuaded to give proper credit for the work that is done for them.

Also, we need to make sure that the theatre lobbies the government of the day effectively. This industry has very specific needs that are often not represented or misunderstood by politicians when they draft legislation, so we have to make sure that the industry is supported and funded properly so it can make its full contribution to the cultural life of the country.

The future...

What do you see for your future? Where would you like to be in five years time and what do you think you will need (training, skills, contacts, networks) to get there?

I see my future in arts management and administration and I’m just about to take up a job in this area with the Edinburgh Festival Fringe Society. My career in stage management has helped to lay the groundwork in developing such a career as it had provided me with all the necessary skills and a lot of contacts.