# Stage Manager backstage



## nate (Apr 19, 2004)

In our school, there aren't enough people on stage crew usually for me, as Stage Director, to be at the Tech Table like is ideal. Since this is the case, I always stay backstage and help. Usually I try not to assign any set pieces to myself. If I have to, it is something smaller or closer to the wing so that I can get back to the wing ASAP. The reasonong behind these practices is so that I can ckeck and make sure that everything is on that needs to be. My question is: Do you find it strange that a SM is backstage for the entire show, every show? Also, do you have any ideas for how I might go about enlarging my crew (since I am lucky to have enough people to cover the entire set)?

Thanks,
-Nate


----------



## ship (Apr 19, 2004)

You also find no doubt that you have much better control and knowledge about what's going on now don't you? Verses in the booth, hmm, you give commands to the sound and light people, watch the show from the audience, but what's going on back stage? Is the main ready to go up... how do you know? Should there be a problem, you are a good long distance away. Not to mention, is it not the job of the stage manager to take on a role as necessary should there be a problem and otherwise nobody available?

In other words, both out of utility and control, and normalcy for how it's done, the stage manager is back stage and normally on stage right. Very rare the stage manager is not managing the stage, instead is watching it.

Any help? I think you have naturally fallen into doing things about right in helping where you can or are needed, but not abandoning your post. I take it you announce your going off headsets for a moment etc.


----------



## zac850 (Apr 19, 2004)

well, for me, as the light board op (and lighting designer) as well as the TD/SM, I was working from the booth. However, I had someone back stage who was in charge of the run crew who I was in contact with over the coms so that I knew when the show was ready to start, or when to pull the lights up and all of those things. If I wasn't also running the board I would rather be back stage to help out and see for myself what needs to be done, as well as when people went off coms without telling me and without getting back on the coms when I flash the call button!!!! ugh.... yea.....


----------



## echostryk (Apr 19, 2004)

Our stage manager is always backstage. Generally our shows require a large stage crew and he has to be back there so he can monitor things. Everyone is equiped with walkie-talkies, including those of us back in the tech booth so that we can coordinate efforts. This seems to be most effective.


----------



## SMTashi (Apr 20, 2004)

Definatly backstage. As a TD/SM myself I've never managed a show watching it (quite honestly I can't remember the last time I worked on a show and saw it from the front). At the same time however I always delegate a lot of small tasks to my ASM for practical reasons (I graduate in 9 weeks). We're always connected with radios/walkie talkies to the booth and the followspot operator for cues which I prefer as I would rather be able to cope backstage with the actors and my backstage running crew than hear about backstage problems over a radio.
However until tech rehearsals start I usually sit in on rehearsals to get to know the actors, take notes on behaviour that might be a problem, talk to the director, etc. That way I also essentially get to see the show =)


----------



## zac850 (Apr 20, 2004)

For me, as I said, I am also running the light board, but I found that if I have a trusty person back stage to be me backstage and I can tell him what to do, it all works out well enough....


----------



## The_Guest (Jul 9, 2004)

Backstage, but I wish they SM'd from the booth and had assistants in the wings.


----------



## MikeJM (Jul 12, 2004)

It all depends on your theater and how things are set up. It is nice to have the SM backstage to view what is going on, but if things are properly rehearsed and everyone knows their responsibilities, I say it is ok to have the SM in the booth. You could always assign crew heads for both SL/SR or have the Assistant Stage Manager backstage, and have them on headset along with anyone else that might require one due to a special job or cues. It is nice to have the SM in the booth because they can be with lights/sound and coordinate everything. They can also have a full view of the stage and can better watch things for cueing purposes (i.e. blackouts, lines that cue things etc....)

Excuse the incoherent post.


----------



## Toul (Jul 12, 2004)

It's all about having a competent set of ASMs. We usually do three ASMs on a direct headset line to the mid-house console where three to four people sit: lightboard op, SM, and one to two audio operators, depending on the complexity of the show. A separate person to call the cues to the follow spots (usually assigned to the LD or his assisstant) is added if there _are_ any follow spots. Generally speaking, the ASMs are all good people who know what they're doing, and the SM won't get a final "ready" from the stage until every single piece of the puzzle is in place. If necessary, crew chiefs, flybosses, and props crews can be added to this communication circuit. A good SM knows exactly what's going on at every single instant, but that doesn't require them to be backstage by any means. Out in the house, they're able to spot things that can be obvious to the audience but barely noticeable to anyone standing backstage. It's also much less hectic up there (except from getting constant headset chatter), which allows for clearer thinking and more rational decision-making.

Besides which, I think after putting that much work into a show, the SM should at least get to see it.


----------



## sallyj (Jul 15, 2004)

*SMs in the booth*

I am in support of an SM being in the booth, especially if it is a huge moving scenery show. When it is cramped backstage, and all you can do is sit and manage because (a) that is your job, and (b) you are tied to a headset and a promptscript, you are in the way. Should chaos break out, you can't or shouldn't leave the headset even for a second to "see what the problem is". Your job is to keep the show running, which means keeping the other cues on schedule as much as possible. It is about trust and delegation. 

SJM


----------



## GeneralDoom (Apr 23, 2006)

Personaly, it depends on what the needs of the show are and what the style of cueing is. I happen to do a lot of shows with visual cues so for the space that I am in it is best if I am upstairs in the Booth. However, when I make out the crew assignment lists, I list whom is to be on what side of the stage and who is to be on headset so when there is issues with people not being on the headset I know exactly who to chewout, eventhough the note goes to the entire crew.
Being backstage give more control, but if you have a compentent crew, and a good ASM, it won't matter where you call the show from


----------



## egorleski (Apr 30, 2006)

I Think it entirely depends on the theatre. And also on the staff. Idealy you have a talented enough staff that you can trust they will get the job done. We are lucky at my school that we always have a good relyable group of people. The SM calls from the booth. They are in headset comunication with the light board operator, the spotlight operator, a person on sound, the SR and SL ASM's, flyrail, and a person on special effects. We are lucky in that our program is large enough that ASMs are always on headset and report when shifts are done, but we have a nightvision camera and a monitor by the SM so that they can see whats going on durign the shift and make sure it goes alright and if an actor drops somthing can tell the crew where to pick it up. seems to work quite well.


----------



## erosing (Apr 30, 2006)

Ship or anyone really that knows the answer. . . you said if the SM is backstage they are normally on the right, is there a reason the right is better then the left?


----------



## Chris15 (Apr 30, 2006)

Arez said:


> Ship or anyone really that knows the answer. . . you said if the SM is backstage they are normally on the right, is there a reason the right is better then the left?



Do you mean stage right or house right. House right (Stage Left) is known as Prompt side, so that might have something to do with it.

If they are the STAGE manager, then it would be logical that they would be on the stage which they are managing now wouldn't it?


----------



## saxman0317 (Apr 30, 2006)

We simply do both most of the time, that way you have multiple views of things calling your shots.


----------



## erosing (Apr 30, 2006)

Ship's post(second or third post on the first page) said stage right.


----------



## fosstech (Apr 30, 2006)

Wow...old thread 

Anyways, we don't have enough space in our booth for the board ops let alone the SM. And the fact that the booth's HVAC does whatever the HVAC in the house does makes being up there sometimes a very unpleasant experience. Being crammed into a booth with numerous heat-producing pieces of equipment plus a HVAC vent in the celing breathing fire down our necks isn't very fun. It can easily get to be 85+ degrees in there in the winter. We can usually reverse the problem by bringing up FOH...the system intakes are up there, so when it gets the hot air from FOH, it switches to AC mode, and then things start to get a little more reasonable.

Gotta get off that tangent...

Our SM usually sits SL. Why SL? Well, the green room is SL. The fly rail is SR, and we have our ASM stand on that side. It works out pretty well.


----------



## audioslavematt (Apr 30, 2006)

fosstech said:


> Our SM usually sits SL. Why SL? Well, the green room is SL. The fly rail is SR, and we have our ASM stand on that side. It works out pretty well.



That's how our theatre is set up as well. All of our communications, a set of house and rehearsal light controls, and the God clock are in a nifty little console designed by one of our former master electricians.


----------



## Chris15 (May 1, 2006)

audioslavematt said:


> That's how our theatre is set up as well. All of our communications, a set of house and rehearsal light controls, and the God clock are in a nifty little console designed by one of our former master electricians.



The theatres nearest us have a similar sort of console, with paging, comms master station, clock next to a panel of light switches 3' x 2' PS. The flies are on that side but so is the Green Room. The Sydney Opera House locates all its stage manager's desks in prompt corner.


----------



## Spikesgirl (Mar 3, 2008)

Okay, first time here, so be kind - in our theater, we have two resident stage managers, myself and another lady. It really depends upon the show whether we call from the booth or back stage. If the show is large, we tend to call from the booth, but we have two ASMs as well as a deck manager to keep things under control. All of us are on headset and in constant communication with each other.

If the show is small (or if we can't get enough deckhands), we tend to call it from backstage, especially if it's a LU/LD show. 

As for recruiting, we always have a volunteer working FOH to answer any questions that folks might have about being backstage. We have an active volunteer group as well as holding an 'open house' three times a year for anyone interested in working backstage. We also recruit heavily during auditions. So far, this has worked very well for us.

Charlie


----------



## tech2000 (Jul 7, 2008)

In my theater our stage manager usually just calls from backstage, so the sm would usually just spend all time there. However, during our last show our director moved the sm up to the booth because the actors were bothering him too much (the sm is a little guy who everyone tends to bug)


----------



## lieperjp (Jul 7, 2008)

I put backstage... even though we don't technically have a stage manager. Our SM doesn't have much to do with lights and sound... only if we need something or if they need something. And to coordinate show starting/house lights off.


----------



## Clifford (Jul 8, 2008)

We have a huge booth and a wireless ClearCom system, so it makes it easy for the SM or LD to call from the booth. That and our director likes to do big cast shows, so there's not always a lot of room backstage.


----------



## museav (Jul 21, 2008)

What I find interesting in all this is one of the most common complaints I hear is sound and lighting having to work from an isolated booth rather than being out in the audience hearing and seeing what the audience does. But out in the middle of the audience is often not the best place to have a SM calling a show. So I guess an ancillary factor in this might be where the light and sound board operators are located and whether you would prefer a house position for them or a booth they shared with the SM?


----------



## TechieTom (Dec 2, 2008)

In my school i am stage manager and i like to be back stage with my crew, quick respose is better that way, i get a wireless, so i am always on headset and i have people running everything, i never touch anything just makes sure things run smoothly. i cant imagin not being back stage personally


----------



## TheDonkey (Dec 3, 2008)

For our current production on Alice in Wonderland, the Stage manager and 3(!) ASM's are all backstage, for the opening scene with the grand curtain closed, I, as technical director/lighting designer cue when the curtains open, but otherwise yeah.

One thing that comes in handy is that I keep the most sensitive ClearCom mic for myself, and I keep it latched the whole show, and the SM's can all hear what's happening on stage through my mic.


----------



## Sayen (Dec 4, 2008)

This seems to vary a lot by theater. At the school, I like to divide the labor between an SM and a well trained ASM, and I stick my SM in the booth. The clear view of the stage gives them a little bit better sense of control I think, and less distractions from backstage. Seems to help with student board ops to have the person calling the show within tactile range. Of course, this varies by production and location - with certain shows it makes more sense to throw the SM backstage, so I can't say that we follow a hard set rule.


----------



## Eboy87 (Dec 4, 2008)

Oh dear, I'm late to the party. Oh well. When I'm SM'ing (a rare occurance), I prefer to be at the prompt backstage, or I guess it's technically the bastard prompt where I usually am SM'ing from. I'm happy as a clam if I can get a video feed, then I can see the show and be on deck in case anything needs immediate attention.

The show I'm on now, lights, sound (that's me), and the SM are all in the booth, but then again, it is a blackbox. A well known outdoor venue back home has the SM backstage at the prompt with video feed of the conductor, one from a camera hidden in the house (I've yet to find it), and one overhead from a camera on the FOH catwalk. A friend of mine up here who knows the inside scoop on _Jersey Boys_ mentioned that the SM calls the show from a platform above the stage in the wings from a bank of video monitors. His/her only responsibility is calling the show. Two other SM's/ASM's are on the deck handling any issue that comes up during the run.

It's six of one, half a dozen of the other.

I'll drop a few pennies in the jar and be on my way.


----------



## icewolf08 (Dec 8, 2008)

Actors Equity Association (AEA) requires on a musical that there be two AEA stage managers working the show, for plays they only require one. However they do not specify where the stage managers are located. Most of the time the placement of the SM is determined by where there is space to put them.

Here is the thing, the stage manager's primary function during a performance is to call cues and make sure that the show runs smoothly. Often times putting a stage manager backstage can impede his or her ability to do this. Why? It is human nature, when you have a problem to go to the person with the highest authority, however if a crew member or actor goes to the SM during a show to talk about a prop or costume or whatever it distracts the SM from their job. It is for this reason that we have props people and costume people and ASM working on a show. The crew and ASMs should be the filters for information, so that only show critical information get passed on when needed. It is one thing if some big moving set piece isn't going to move, but very different than the actor who forgot his hat in his quick change. The SM needs to know about the scenery, the hat probably won't affect the show. The ASMs or crew heads backstage show be the people who make most of the decisions backstage, handing off the show critical decisions to the SM.

Having the SM in the booth or FOH creates a useful separation between cast, crew, and the SM. It makes it so that only the information that needs to be passed on get passed on, and makes for less distractions for the SM. Also, being in the booth or an FOH position allows the SM a clear view of the stage. The SM can see the action and thus is better equipped to call cues. Often the only video feeds needed by an SM in the booth are IR and conductor cam.

Now this is not to say that one can't call the show effectively from backstage. It is just very important to establish the fact that the proper chain of command still needs to be followed. If the SM calls from backstage it is not the SMs job to wrangle the crew or cast, and the cast and crew should not be bothering the SM with the questions that should go to ASMs or crew heads. Also the SM should be provided with any video feeds needed to see any view of the stage to make calling cues easier. This may include a front view, a top down view, an IR feed and conductor cam. When calling from backstage it is very important to have good cameras that provide clear images so that the SM can actually see what is going on.

There are certainly pros and cons to both placements for SMs, however most SMs that I have worked with prefer the booth (or FOH) for the sightlines and lack of distractions.


----------



## theatretechguy (Dec 8, 2008)

Stage Manager is usually in the booth sitting beside the light board op. Sound OP on the other side, and followspots about 10 feet away on the other side. Our booth once had glass enclosing it, but mixing sound was a joke and we have since removed the glass. Depending on the show there's almost always an ASM off stage right (We have no flies, 90% of the scenery comes from SR). ASM usually doubles as curtain puller and sometimes there's a person off SL for props/costumes.

Now that we've purchased some new headsets, we can actually get the entire crew on!


----------



## renegadeblack (Dec 10, 2008)

TheDonkey said:


> For our current production on Alice in Wonderland, the Stage manager and 3(!) ASM's are all backstage, for the opening scene with the grand curtain closed, I, as technical director/lighting designer cue when the curtains open, but otherwise yeah.
> 
> One thing that comes in handy is that I keep the most sensitive ClearCom mic for myself, and I keep it latched the whole show, and the SM's can all hear what's happening on stage through my mic.



On our clearcom hub there's a line in port for audio to be sent out through all of the boxes, we take the mono out from the sound board and send it into there. Something you may want to look at.

Our stage manager stays backstage. She has a wireless clear com when we rent them and does occasionally help move scenery. There's absolutely no room in our booth for anyone else other than the board ops.


----------



## cprted (Dec 11, 2008)

TheDonkey said:


> One thing that comes in handy is that I keep the most sensitive ClearCom mic for myself, and I keep it latched the whole show, and the SM's can all hear what's happening on stage through my mic.


FYI, some techs don't necessarily like listening to the SM breath all night long.

As was mentioned, program sound in the comm line can help if people are having trouble hearing things they need to hear.


----------



## Chris15 (Dec 18, 2008)

I've been on shows where you hear over the comms, whose mic's on? Generally leaving a mic open irritates people in pro circles... The matrix intercoms, much of the time, will have a program feed into them. Then one can have as much or as little program as desired... Noting however that such systems are beyond teh budget of most schools...


----------



## cisgrig (Dec 18, 2008)

I think icewolf08 is pretty much on the mark. I've done the job from both places but would rather call from the deck. It really depends on the show, I think the SM needs to be where he/she can see well enough to call cues as I never depend on calling from notes in a script book, they are just reminders. But in a 'box set' situation, the booth is probably best. And for sure have ASMs and PROPS and COSTUMES take care of the 'small stuff' (if there is such a thing in a live production) and NEVER go find actors.


----------



## gafftaper (Dec 18, 2008)

To me this is a meaningless discussion because there are so many variables. In my Black box the SM has to be in the booth because the audience would hear the SM calling cues anywhere else in the space. In larger theaters where you have the option, it depends on the type of show, the skill of the crew, the skill of the SM, and the equipment available to the SM to communicate with the rest of the crew. Too many variables to have a set one way it's done. 

As Ship said early on in this discussion, in a pro show, it's almost always back stage. That's where the action is at, there are good video feeds to see what's going on, and good com equipment to be able to communicate with everyone. In a school setting there may not be proper wing space, people may use cheap FRS walkie talkies because they have no a Clear-Com system (that's illegally by the way), there is no video feed backstage, and many other variables... there isn't one clear answer. 

Do what works best for your venue, gear, and skill level.


----------



## photoatdv (Dec 18, 2008)

Seeing as you can buy walkie talkies at any large store, why would it be illegal to use them as clear coms. Or are those one of those wierd thing like wireless mics (before the big FCC mess) where you are supposed to have a license but can't?


----------



## Eboy87 (Dec 18, 2008)

The walkies you get at Best Buy or Wally World are FRS radio; Family Radio Service. It's illegal to use the FRS band for commercial uses. With Clear-Com, you can have two people chatting, and the SM can still talk over them and tell them to be quiet. With radios, it's one person at a time. That being said, walkies are useful during load-in/out.


----------



## museav (Dec 18, 2008)

Eboy87 said:


> The walkies you get at Best Buy or Wally World are FRS radio; Family Radio Service. It's illegal to use the FRS band for commercial uses.


Some retail units are dual FRS/GMRS. FRS frequencies do not require a license and the FCC says on their web site (FCC: Wireless Services: Family Radio Service : Family Home)

> It is used by family, friends and associates to communicate within a neighborhood and while on group outings and has a communications range of less than one mile.


and

> You may use your FRS unit for business-related communications.


 

GMRS (General Mobile Radio Service) is similar to FRS but higher powered and does require a license, although it is usually just a matter of applying for it and paying the associated fee, which I believe is $60 for a 5 year license. When licensed you get an FCC registration number, a file number and an assigned call sign. Like FRS, GMRS is primarily intended for family use and is typically an individual holding a license that covers use for themselves and their direct family. However, GMRS licenses can be held by other entities and the FCC defines that the following persons may be permitted to operate under the authority of a GMRS system licensed to a non-individual:


> (i) A partnership ........... Licensee’s partners and employees.
> (ii) A corporation .......... Licensee’s officers, directors, members and employees.
> (iii) An association ........ Licensee’s members and employees.
> (iv) A governmental unit Licensee’s employees.​


----------



## clovestick (Dec 18, 2008)

Well, I'm speaking from my own experience. Every show I've done, I've always been at the tech table or in the booth during the show, save for high school, but that's a completely different story.

On a show that I ASMed on, I was responsible for things backstage on SL, and there was another ASM backstage SR. Our SM was up in the booth, and we were all on headset, so that solves the problem about the SM knowing vs. not knowing what's going on back there. They would check in with each of us before calling the first cue.

I don't know if I could do with calling from backstage. Granted, if I had to, I'd find a way to get used to it, but with just the thought of it now, I can't imagine. It's like a whole set of different rules for the same game.


----------



## Eboy87 (Dec 22, 2008)

My apologies. I heard a few years ago it was technically illegal, and haven't bothered to check up on it since. Take Muse's advice, not mine.


----------



## cwhitson (Dec 23, 2008)

I agree with Gafftaper, it really depends on the theater and the production. One thing that hasn't been mentioned though and that needs to be kept in mind is that it is the Stage Managers responsibility to make sure that the Director's vision is maintained throughout the production. Knowing what it looks like from the audience's point of view is paramount. As long as this can be accomplished...I don't see where it would matter if the SM was backstage or in the booth.


----------



## underdark27 (Apr 16, 2009)

Well if something dosn't look right the LD or SO should see it and call it.


----------



## GeneralDoom (Apr 18, 2009)

underdark27 said:


> Well if something doesn't look right the LD or SO should see it and call it.



Agreed, but ultimately it falls to the Stage Manager to make the final go/ no go decision during a performance.

just my two cents


----------



## museav (Apr 20, 2009)

cwhitson said:


> I agree with Gafftaper, it really depends on the theater and the production.


Totally in agreement, which is why I try to design most facilities to allow the flexibility to have the SM at multiple locations.


cwhitson said:


> One thing that hasn't been mentioned though and that needs to be kept in mind is that it is the Stage Managers responsibility to make sure that the Director's vision is maintained throughout the production. Knowing what it looks like from the audience's point of view is paramount. As long as this can be accomplished...I don't see where it would matter if the SM was backstage or in the booth.


Agreed, however it is also the Stage Manager's responsibility to manage what is on stage. If there is any conflict between maintaining the Director's vision or stage safety and leadership, I think that safety has to take precedence. Calling cues, etc. is one thing but someone has to be responsible for controlling the stage and avoiding, or dealing with, any problems in what is typically the busiest and most dangerous area. Especially with a crew that is learning, you would likely want your most experienced and responsible crew member to serve that role and that is often the SM. Now if you have an experienced ASM or an experienced crew and inexperienced SM or any of a number of other situations, then the situation could certainly differ.


----------



## hklq (May 31, 2009)

Toul said:


> It's all about having a competent set of ASMs.



Couldn't agree with you more. And if your light/audio board op doesn't show and there's no replacement other than the SM it's good to be used to calling from the booth. Of course in opera the SM always calls from backstage, but that's a whole different rule book.


----------



## DuckJordan (Mar 24, 2010)

our stage manager is really not a stage manager at all but rather a stage hand manager. he or she basicly tells the rest of the crew when to go on and off for scene changes. (lights and sound run the show from the booth, SM waits for black out or specified line or sound cue) then goes on and changes set. Basicaly its a glorified stage hand position in our theater (completely out of my hands btw). 

I would like to see a stage manager in our booth calling cues and getting everything running correctly. Too much our director relies on individuals to get timing right.


----------



## HSSBO94 (Mar 25, 2010)

Our SM is in the booth. 
to answer the question: "how do you know if the crew is ready?"
well that's what ASM's are for. Our SM meets with the ASMs enough to trust them. of course, if our SM Wanted to be backstage that would be fine, but the ASM's job is to help the SM.

The advantages to being in the booth are you can see the stage and see if anything was missed and the SM has a good sight of the house allowing us to hold the house if necessary


----------



## Dylandtech (Aug 9, 2010)

in my school we have our stage manager in the tech booth with the sound and light board. but we also have our ASM or some other person back left on headset to be able to communicate with out SM and others. at the professional theatre i work at we have a SM center back right. it has a monitor which displays the stage from center mezzanine along with a backstage god mic, a headset and anything else they might need


----------



## blackhat (Aug 9, 2010)

Just to throw another opinion in there:

From shows I have worked as both a Stage Manager, an ASM and Crew, the Stage Manager's job is several fold, which has already been mentioned. But, when there is a critical point, his or her job is to *think*. Each crew member must be focused and excel at their job, and constant communication between crew and ASM, ASM and SM and board ops and SM must be constant. Because, when SHTF, crew do not have time to think. The SM must be free to formulate the plan, coordinate the resources at his or her disposal, and all the while making sure the audience has NO CLUE what just happened. They must manage a reality, and that requires having multiple views and being able to understand them at a moment's notice. Also, to most effectively make this happen, the SM needs to have as clear a view as the audience has. This is pretty much (to me, of course your mileage may vary) the only way to know that a sequence of events or a quick solution is able to be read from the house, and to call out any issues that may be visible but the crew may not be aware of from their respective positions.

To me, this just further brings to light the value of a good ASM, and how they are often more critical to a show than many suspect. They're the eyes and ears backstage for the SM, who is focused on the end product and using the tools there to make it happen. The ASM makes sure all those tools, workers and elements are there to function according to plan (even if the plan must change immediately). Also, it also shows that a GOOD SM should be a jack of all trades in order to do their job well. I cannot stomach any stage manager who thinks that having the best knowledge possible about your house's light board, sound setup, set design or even makeup requirements for your show isn't as critical as the rest of the traditional SM skills. Of course, I speak of some SM's from community theater productions when I was a TD and the difference between them and pros is of course glaring (or at least should be). To me a Stage Manager has the requirement to have a MUCH greater skill base since so much of it is administrative and technical, and if they do their job right they should appear omnipresent to the cast since you pretty much have to be during a show

This of course also points out (once again) that it's the crew as a whole that make this happen... nothing happens without our crew!


----------

