Inside Look: Syracuse Stage SM Apprenticeship

The following article continues a series devoted to stage management training programs (undergrad, grad, internships, etc.) across the country from the perspective of current stage managers who attended them. – Hope Rose Kelly (Editor-in-Chief)

Syracuse Stage – Syracuse, NY

Stage Management Apprentice 2013-2014

By Paula R. Clarkson

Syracuse Stage is a LORT C Regional Theatre located in Syracuse, NY. The season spans from about August-May, typically including six shows of incredible variety. Two people are hired for the Stage Management Apprenticeship position, who typically alternate shows, so one of you is in rehearsal while the other is in performance. The theatre also operates extremely closely with the Syracuse University Drama Department with many of those students interning on shows and, in some cases, even cast.

Being an Equity house, all rehearsals and performances are subject to the Equity rulebook, which is very helpful to learn for someone hoping to join the union. We rehearsed 6 days a week, usually in a 10:00am-6:00pm type of schedule. A week of tech would lead into a brief Preview period, and then the show would open. Runs were usually about a month, with seven shows a week as standard, including Student Matinees and specialty performances for the hearing and vision impaired.

I originally found Syracuse Stage while hunting for a large regional LORT theatre that had a good diversity to its season. Personally, I enjoy everything from new musicals to Shakespeare, but would prefer not to do the same genre month after month. Syracuse Stage seemed to have a real emphasis on doing works that were not only entertaining, but could really challenge their audiences and enrich their community. On top of that, I was excited about the connection to Syracuse University. This partnership was one of the very few that I came across, and since I knew I wanted to teach one day, it really seemed like the ideal opportunity.

The interview process was a pleasure. Even if I had not ended up with the job, I would still look back on that conversation very fondly. Stuart, the PSM at Syracuse Stage, was warm, funny and truly wanted to get to know me as a person. I didn’t feel like any of the questions he asked me were a test and he genuinely seemed to appreciate my interest in his theatre. I had been lucky enough to have a few different interviews but after speaking with Stuart, there wasn’t anywhere I wanted to be more. He was open about his timeline for interviewing others and I heard back about getting the position within the timeframe that he communicated. I was thrilled.

The position itself did not disappoint. A lot of season-long internships or apprenticeships that I’d looked at put you in a Production Assistant type of role, where you are assisting the SM and ASM. But as great as some of them looked, I felt confident that I wanted to go somewhere where I would have more responsibility than making coffee and doing line notes. At Syracuse Stage, it is only the PSM and the Apprentice throughout rehearsals. I did all the backstage tracking for the shows I worked, including props, costumes, live flame, everything. I created the backstage crew tracks, and oversaw the crew when they were added at tech. All the shows were different, really giving me the chance to grow and work on different skill sets. As I’d hoped, some shows had SM Interns from the University, so I was learning, while also teaching others. It was a lot of responsibility but never unfulfilling. Stuart, who is also a professor for the Syracuse University Drama Department, is an excellent teacher. Even in the throes of a 10 out of 12, he made himself available for questions or help if I needed it.

The perks of Syracuse Stage were also arguably the best of anywhere that I applied. While they do not offer housing, I was paid enough to pay my rent and utilities with under half of what I made a month – about two paychecks. That left the next two paychecks free for me to use for whatever other means I needed to. Being a college town, it was not hard to find a cheap place near the theater to live. There are also buses in and out of Syracuse to Boston, Ithaca, New York City, and tons of other places. I had a car, but there is a public transportation system that I know works just fine for those who do not have a way to get around on their own.

I found a community of artists at Syracuse Stage that I have rarely found elsewhere. Not only was everyone unbelievably dedicated to putting on high quality shows, but they really support and like each other. It was extremely rare for me to not spend my day off with the friends I had made from work. Having been out of the program for 6 months now, I am still in constant contact with the people I met and I expect them to be friends of mine throughout my life and career.

Writing this reminds me of how much I miss being there and working with all those amazing people. I am currently finishing my first semester at the Yale School of Drama focusing in Stage Management and I know that I would not be here without the year I spent with Syracuse Stage. It taught me an immeasurable amount about regional theatre, challenged me to take risks, helped me gain confidence and solidified my decision that Stage Management was what I wanted to do with my life.

I would recommend the Apprenticeship to anyone who is ready to take the next step in terms of responsibility on an SM team, is interested in regional theatre, and truly wants to be involved in art that is relevant and thought provoking.

A Stage Manager’s China Experience by Anthony Bullock

Wuzhen Theatre Festival venue

Wuzhen Theatre Festival venue“So who wants to go to China in two weeks?” This was what the Production Manager, David York, said as he walked into the stage management office at McCarter Theatre. I of course, sheepishly raised my hand.  The journey was to The Wuzhen Theatre Festival in China with The Goodman Theatre’s production of “The White Snake” by Mary Zimmerman.

One of The Goodman’s stage managers had to pull out of going to China so they were looking for a replacement. Last season I was lucky enough to be the ASM on “The White Snake” while it was here at McCarter and from the raise of my hand, the ball was set into motion for me to get to China.

As I hadn’t worked on the show in over a year I started watching the archival recording to help familiarize myself back with the show. I had received the run sheets from the PSM at The Goodman, Joe Drummond, and tried to really hone back in on the backstage running of the show. “The White Snake” is a huge ensemble piece, with tons of quick changes and many handoffs of props and scenic elements. Studying and re-learning the show would be a key element to the success of putting the show up in China.

I didn’t get to meet The Goodman production staff until we all landed in the town of Wuzhen. We were lucky enough that two of the crew members who had run the show before at The Goodman were able to join us in China. The rest of the crew was from Taiwan and mainland China, and most spoke very limited English. To run the show we need 11 crew members backstage, and only 5 of those were from The Goodman. I had to completely rework the run sheets, despite my earlier preparations, to give certain run crew tracks to certain members.

What shouldn’t have been such a shock to us all is that theatre is theatre no matter where you are. Our local run crew was beyond amazing! There aren’t words to describe, despite the language barrier, how much they understood and cared about the show in such a brief timeline. We only had a scheduled day and a half of tech for our 4 shows. To be able to fully let them work and follow along with such passion played a tremendous part in letting me help out on the tragedy that struck.

During the last 5 minutes of our final dress before a performance that night, one of the lead actresses tripped in the aisle of the house and broke her wrist. She was rushed to the hospital and it was quickly determined that we would not preform that night. In China, they have what is called “keeping face” and to cancel a show, both culturally and financially, is a huge detriment to the festival. The company of actors, along with Mary, brainstormed a possible solution so we could still perform our other shows that week.

What transpired was another actress, Emily Knapp, in the ensemble would take the role of the injured actress and the other ensemble women would fill in the other roles. By chance, Mary Zimmerman’s assistant had also previously been an actor in the piece here at McCarter so he got put into the show as well. We rehearsed through the entire show that night with the new acting tracks and then did a final run through the next morning.

During these rehearsals I was in constant communication with Emily who was stepping up to the part and really working with her to focus on what is onstage and not worry about the backstage traffic. When she wasn’t on stage I was going over her lines with her and reminding her of quick changes. I was able to devote this time to her due to the amazing local crew who also stepped up even more after what had happened and really embraced the ensemble nature of the show.

We finally opened the show to a great big house and even added a performance to help the festival in the loss of the original performance. Watching everyone really care and the passion people put into this show was my biggest takeaway from the experience. No matter where you are, theatre is theatre. Here is something I posted right after the opening night performance and I feel it really captures my experience:

“Tonight was beyond full of reasons why I love what I do. Joining with other artists and technicians from half way across the world to create a passion we share. Celebrating our differences while incorporating them to make each moment be beyond our birthplaces, but about the thing we love the most. I am beyond honored to be working with this brilliant company, both from the USA, China, and Taiwan, who strive and push for nothing but greatness, not from each other, but within ourselves. This is why it is called “theatre magic”, to grow, to see, and to live… ‪#‎whitesnakechina2014

Highlights from the SMA Webinar on Mentoring

The following report contains highlights from the SMA Webinar on Mentoring that took place January 12, 2015 7pm-8pm EST

Panelists:Mandy Berry – Professional Production/Stage Manager & Vice Chair, Stage Managers’ Association (SMA), Ryan Kirk – President, Tinc Productions & Chief Executive Officer/Founder, Propared

Moderator: Eric deLima Rubb – Marketing/Creative Director, Propared & Blue Man, Blue Man Group

Participants:90 RSVPs from SMA & Propared email database & members.

46 attendees.



Formal definition of Mentoring: someone who teaches or gives help and advice to a less experienced and often younger person.

How do you define mentoring?

Mandy:I see mentoring as an organic entity and relationship and I have had lots of mentors in various places in my career. Thinking of who has mentored me in my career- are people who I watch and see that I want to be them in 2 years, 5 years or 10 years so how do I get there and how do I get there and how do learn so much from this person.

Ryan: Felt that his career path from the bottom rung of stage management and being an electrician and working his way up and how to teach and learn and how he has done many multiple job roles.  This allows us to mentor as we go and to be mentored by others as we come up this path.

How do you practice mentoring?

Mandy:By assessing those around me, making sure my team is up to speed with those around me and who has what skills and knowledge base.

Ryan: Bringing in younger generation of employees and freelancers to jobs and doing workshops and continuing education opportunities.

How is it practiced in the corporate world?

Formal Process with in a corporate structure that make it easy to start in a position of mentee and/or intern and then you move up to your position. Which creates longevity with in a company.

Why it doesn’t work this way in the live event world?

Ryan:Lack of longevity of jobs. Very transient industry and time frame is short term. There is no “water cooler” mentality to go and share ideas and training.

Mandy: There is no department for the stage managers so how do you go to find the people you need or who you want to be.


Mandy:Working a corporate event 8 years ago and the production coordinator was a stage manager for trade shows and I was not interested in that at the time and spent 3 weeks on this job site and yet never sat down with this person to ask about his work and how to work in that type of industry and now 8 years later having done a few trade show corporate events I think back to that event and how perhaps I could been further along in my career than I am now.

Ryan:Important to show his work process from start to finish. Sharing the work flow and paper work with those around them so they see the process from start to finish.

Ryan:Learns the most from his assistant at Tinc who brings lots of new ideas to the table, as well as his youngest employee who gives an amazing perspective on the software. Letting go of hierarchy to learn from everyone.

Mandy: Being able to take advantage of whatever opportunities that are presented. After leaving Cirque I just emailed every stage manager in Vegas and I few to Vegas and watched their teams for the shows.  Assessing my contacts and realizing that I knew stage managers on Broadway so I emailed and tried to get in and shadow several shows and with in that being able to open opportunities out of my emailing my friends.

Eric: “Teaching by perspective sharing” How do we do the best job we share our ideas and ask questions and get feedback from those around us.


We are all responsible for our jobs and career paths. We control our attitudes and it is upon ourselves to take steps to move forward.

·         invite junior professionals to sit in on high level meetings

·         encourage questions

·         Set aside time to discuss the event or your process

·         remember what your real job is. It isn’t paperwork, its communication, is managing people, its leading a team and being led by others. Lift your head out of the book and look at people!

·         every connection is an opportunity to engage beyond the job site.

·         Teach as you go.

For mentees:

·         Learn from everyone you meet/work with. Not just in your industry/genre

·         Ask questions

·         Hand out business cards

·         Remember who you worked with on what job, take notes.

·         Always re-iterate in your connection making process how you know someone and through who.

·         Available resources


·         Job postings emailed to you

·         Networking opportunities

·         Operation Observations/Mentoring Opportunities

·         Ask a Stage Manager Forum

·         Articles – About other mentoring/internship opportunities, stories of other stage managers and tips of the trade

·         Drink Nights

Other networking opportunities (e.g. LinkedIn groups, unions, social media sites, etc.)

And take a look at the article in the following link about getting a mentor:

Broadway Stage Manager Spook Testani Loses Her Battle With Cancer

Andrea ‘Spook’ Testani, a well-known stage manager and member of the Broadway community, died Sunday night, due to Stage 3 colon cancer. She was home, surrounded by her family, friends and her beloved dog, Jake.  Your incredible outpouring of love, all your thoughts, energy and prayers made this painful journey much easier to bear.  Spook read every “hug”, every message, every donation and was literally overwhelmed.  Your cards, your encouragement and your generosity gave her the strength to fight.  As you can imagine, Spook was couragious and gracious every single day.  Her amazing compassion for others, her gentle kindness, the way she made everyone around her feel like her friend and yes, her determnation never waivered.

Spook recently served as the production stage manager for the 2008 all-star Broadway revival of ALL MY SONS, which featured John Lithgow, Dianne Wiest, Patrick Wilson, and Katie Holmes; the beloved, Tony-winning musical THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE in 2005; MATCH with Frank Langella in 2004; and I AM MY OWN WIFE, starring Jefferson Mays, in 2003. Her other Broadway stage managing credits include FRANKIE AND JOHNNY IN THE CLAIRE DE LUNE, THE MAN WHO HAD ALL THE LUCK, DESIGN FOR LIVING, THE MAN WHO CAME TO DINNER, UNCLE VANYA and SIDEMAN.

In lieu of flowers, the family requests that donations be made to the Actors Fund in Testani’s honor.

USITT SMMP Experience – Part 2: From the Mentoree Perspective

Brittany M. McMahon wrote the following article about her experience with the USITT Stage Management Mentoring Program. You can read Tom Kelly’s account from his perspective here: I asked Brittany how she got this opportunity and she responded:

While attending USITT, I stumbled upon a booth offering an event called the Find A Fellow Mentorship Program. I discovered that as a Student or Early Career registered attendee, you could complete a worksheet to submit for a drawing to win the grand prize: A two-day all expense paid trip to mentor with an experienced professional in your field of theatrical work; if possible, a fellow of the institute. The entire program was developed to help the younger generation of up and coming professionals to realize the importance of networking. For two lucky individuals, it would also be a chance to win the grand prize. 

The worksheet was actually a collection of 6 photos from 6 USITT Fellows’ pasts. The idea was that you were to speak with a number of USITT fellows and then guess if one of the photos was the Fellow you were speaking with. If you guessed correctly, they would sign their name down on the worksheet. With all 6 signatures you could turn in the worksheet and enter the drawing. My name was picked out of the stack and thus began my great adventure to The Berkshires and studying from Thomas Kelly himself!
Here is Brittany’s account of her time in the Berkshires this summer:
            My time spent in the Berkshires with Tom Kelly can best be described as enlightening, eye opening, and ultimately an inspiring experience. During my time, I was able to enjoy countless conversations with Tom, ranging from personal experiences, to unions, developing relationships with cast/crew, scheduling, paperwork, and beyond. Over the course of two jam-packed days I was able to fully immerse myself into one of the many worlds of professional theatre and have the rare opportunity to view the processes of shows I was not intimately involved in.

On the first day I enjoyed breakfast and theatrical conversation with Tom Kelly. Our first stop was Shakespeare and Co. for a guided tour, which is offered to the general public as an educational experience. It provided me with a background of the company, as well as a view into their extensive facilities. I was able to shadow and work with the stage management team here, where I was welcome to view fight call and music rehearsals, observe the set up and preshow duties, and ultimately view the show from the booth while listening in via headset. I had the pleasure of watching first, an adaptation of Henry IV and second, an adaptation of A Midsummer Night’s Dream. While both shows offered their own challenges and rewards, I really enjoyed the way Midsummer seamlessly adapted into the warm night and music of New Orleans in the 20’s/30’s. Being very familiar with Southern traditions after growing up in the Baton Rouge/New Orleans area, this show was a real treat.

On the second day, I was able to travel to the Berkshire Theatre Festival and meet with their production manager and his assistant, as well as receive a tour of their operations. This provided me with a view of a more traditional set up, rather than the facilities at Shakespeare & Co. being more attuned to the classical works. After our tour of BTF, I was able to spend the day immersed in the productions at the Bernstein Stage at Shakespeare & Co. This day ran much like the one before, where I was able to view the inner workings for Vanya and Sonia and Masha and Spike as well as a unique and wonderfully executed adaptation of Julius Caesar.

Overall, this was an incredibly rewarding experience that has taught me much about the professional world. I was able to make connections with real people who are working in the real world. The knowledge I’ve gained over those two days is invaluable and I have no doubt I will be utilizing it for the rest of my life.

I would like to say how thankful I am to the cast and crew of each production as well as the entirety of Shakespeare and Co. for letting me, a stranger, come into their world and view their work from the inside. I was granted access to every corner of the company including facility tours, fight calls, warm ups, and post show chats. This insider access allowed me to have a feeling of full immersion and for an instant; it allowed me to be a part of them. Thank you.

I would finally like to thank USITT for their help in making this trip a reality. Having the opportunity to view all of these productions and their different management teams, who all have different styles, ultimately helped to further reinforce that there is no one way to accomplish things as a stage manager. You have to be willing to adapt yourself to the needs of your show and ultimately to the personalities of those you are working with.

I look forward to exploring what my future holds!

With Sincerest Thanks, Brittany M. McMahon

Currently, Brittany is working as a stage management intern for the B Street Theatre in Sacramento, CA until June 2015. Working as a PA on Equity shows, running rehearsals, and of course making coffee are among her many duties. She looks forward to learning all that  she can and to eventually become an Equity stage manager. She is very excited for what the future holds with B Street and beyond!

USITT Stage Management Mentoring Experience – Part 1

Successful Mentoring experience provided by SMA Lifetime Member and Del Hughes honoree, Thomas Kelly

Thomas Kellywell known expert and author on the subject of theatrical stage management, spent two days in August with Brittany McMahon, one of the winners of the 2014 Find-A-Fellow contest. This USITT Fellows-sponsored initiative provided Ms. McMahon with a once-in-a-lifetime opportunity to have a one-on-one mentoring experience with one of the industries’ leaders. The following report from Tom provides some insight into what was an information-and interest-packed two days. This project is another strong testament to the critical work USITT’s Fellows continue to provide. Thanks to Tim Kelly, USITT Fellow for his leadership at the helm of this program.


Seldom have I had an experience turn out so well. Brittany was wonderful…she embodies the best of what I look for in a young stage manager. She was attentive to a wide variety of stage managers she met, polite, bright and personable…not in the cloying “network” type way, but honestly listening and getting what she could learn from all of us and applying it to some of her own background. The first day she spent with the stage managers and shows at the Tina Packer Playhouse Mainstage at Shakespeare & Company. The SMs were Hope Rose Kelly and Diane Healy, both of whom have been there a long time and who enjoy sharing the theatre and its workings with interested student/intern/mentees. Before the shows Brittany got to watch the stage managers run their fight and music rehearsals and then observe the half-hour backstage seeing the prep and preset and meet the actors, etc., and then be on headset for the shows (Henry IV and Midsummer Nights Dream). In the morning of that day, we did the “guided tour” which was given by the general manager of the company and included much history of the company as well as real backstage visits to rehearsals, shops, stages, and the overall facility. The second day we had a tour and opportunity to meet with the production manager and his assistant at the Berkshire Theatre Festival, shops, and backstage providing the opportunity to gain a bit of history and insight into a less classical and more “mainstream” type of theatre operation.


The rest of the day she spent at performances in the Bernstein Theatre at the Shakespeare & Company where she saw Vanya, Sonia, Masha and Spike, Durang’s new wonderfully funny play directed by Matthew Penn who was in attendance. Again she experienced it from the booth on headset and listened to the SM notes and thoughts on the show as well as watching the running of it. In the evening she saw a wildly inventive production of Julius Caesar, directed by Tina Packer who she got to meet, etc. The production was performed by seven actors switching roles (and, in the case of the lone female who played both Calpurnia and Portia, sexes, as she reappeared as various soldiers and servants throughout the play).


Between all these experiences, over meals and driving her around, we had ample time to discuss, listen, teach, advise, reminisce, etc., about being a stage manager and what she could look forward to in choosing it as a career. We talked about everything from cue lights to personal relationships with cast, crew, etc…unions, rules, paperwork, team building, creative scheduling, relationships, and communication with directors, management and designers and crew, etc., etc. Throughout, her questions and discussions gave me great hope that this particular in depth immersion was a great way to teach and mentor. I would love to continue being involved in future seasons. And Hope (Rose Kelly), the PSM, also liked the mentoring and sees it as a great idea for the future. We have both been active with the SMA over the years, and we agreed that this particular schedule and immersion was a fine-tuned version of what we have tried with SMA as “Operation Observation”…similarly allowing backstage access and shadowing opportunities but not nearly as much time for discussion and reflection on what has been observed.


Editors Capsule Note:   Report from Thomas Kelly and USITT about his mentoring weekend experience sponsored by the Fellows of USITT.  This summer he was matched up with Brittany McMahon, a winner of the 2014 Find A Fellow Contest. Winners of this contest have the opportunity to select a mentor and then have an all expenses paid trip to participate. Thomas Kelly is the second SMA member to do this, Chair Elynmarie Kazle participated with Kristen Sutter in December 2012.


Del Hughes Awards 2014 Press Release

The Stage Managers’ Association (NYC) (July 2, 2014) for immediate release. Elynmarie Kazle, the Chair of the Stage Managers’ Association, is pleased to announce the honorees for the 2014 Del Hughes Award for Lifetime Achievement and Excellence in the Art of Stage Management. On Monday, June 23rd, members and distinguished guests gathered to honor Thomas Kelly (NYC) Martha Knight (Washington, D.C.) and James (Jimmie) McDermott (Los Angeles) at a celebration in New York City at Connolly’s on 121 W. 45th Street. The Chair of the event was Janet Friedman and the Emcee was past SMA Chair, Richard Costabile.

Thomas Kelly has been a Stage Manager, Production Staging Supervisor, and a General Production Manager for over 50 years since going off to summer stock in 1962. He has had an active career both on and off Broadway, with his Broadway credits including Hair, The Wiz, Sugar Babies, Merchant of Venice, and Death of a Salesman (with Dustin Hoffman). He worked with Christopher Plummer on Cyrano! The Musical and with Tommy Tune’s productions of The Club and A Day in Hollywood/A Night in the Ukraine. Tom has also worked in stock and regional theatres. As a Production Manager and Staging Supervisor, he has worked on such diverse productions as The Rock and Roll Hall of Fame, MTV’s Unplugged series, and the Papal Mass in Central Park. He has managed installations and presentations including the first VHI Music/Fashion Awards, and at MTV and Between the Lions for WGBH. Tom has served as Production Manager for Center Line Studios, one of New York’s foremost scenery companies, and on the faculty of The State University of New York at Purchase.

Martha Knight (Stage Manager) has been a stage manager at The Arena Stage in Washington, D.C. for over 30 years and most recently on Other Desert Cities. Last season, she stage managed Long Day’s Journey Into Night in the Kreeger Theater and in the previous season At Home at The Zoo in the Kogod Cradle. Martha has worked on Broadway, off-Broadway and on national tours such as: Foxfire; Annie; Give ‘Em Hell, Harry!; Over Here!; and The Me Nobody Knows. This past summer, Martha received the ‘Broadway Salutes’ medal for 50 years of theatrical work. For the past 35+ years, she has been happily stage managing in the Washington area’s many theaters doing plays, musicals and free-lance productions; including 25 years of The Helen Hayes Awards. She proudly joined Actors’ Equity in 1962 at Musicarnival “under thebig, blue tent” in Cleveland, Ohio.

James McDermott: Jimmie has stage managed across the country and in the greater Los Angeles Area for organizations such as Center Theatre Group (Ahmanson, Mark Taper Forum, Kirk Douglas Theatres) the Geffen/Westwood Playhouse, Los Angeles Theatre Center, La Jolla Playhouse and South Coast Repertory. Jimmie is in his fourth five-year elected term on the Council of Actors’ Equity Association, a Vice Chair of the Western Board of Directors, Chairman of the Western Regional Stage Manager’s and LORT Committees. In 2001, he was the first Stage Manager to be named as the Outstanding Professional Stage Manager in whose name the USITT Outstanding Stage Manager Award was given. The 2013/2014 school year marks Jimmie’s 18th year on the faculty of Cal Arts.

The Del Hughes Award is regarded throughout the theatrical community as a crowning achievement for a stage manager’s career. The Del Hughes Award was created by Julie Hughes and Barry Moss, partners in a major casting office. This award honors Julie’s father who made a 50-year career of stage managing. The selection committee looks for recipients who exemplify the finest qualities of Stage Management: patience, diplomacy, organization and a sense of humor.

Phil Friedman, Bob Fosse’s stage manager, was the very first to be so honored.

The following Stage Managers have previously received this award: Phil Friedman, Fritz Holt, Bill Dodds, Ruth Mitchell , Anne Keefe, Anne Sullivan, Biff Liff, Morty Halpern, Alan Hall (2010), Porter Van Zandt (2010), Susie Cordon (2010), Joe Drummond (2011), Steve Zweigbaum (2011), Beverley Randolph (posthumously) (2011), Bob Bennett (2013), Peter Lawrence (2013) and Perry Silvey (2013).

The Stage Managers’ Association, founded in the fall of 1981, by and for stage managers, is a professional networking and educational organization for stage managers all across the United States. Among the activities of the Association are mentoring, job lisitngs, “Operation Observation”, and online educational forums. The SMA also helps raise funds annually for the causes supported by the Broadway Cares/EFA Flea Market.

For more information on the SMA visit: