Narda E. Alcorn, Chair
Stage managers are leaders, creative collaborators, and primary strategists of the theatrical process. They translate, integrate, interpret, and negotiate multiple visions into a cohesive whole, in service of a live performative piece. Throughout each phase of a production process, stage managers serve as artistic partners to every member of a collaborative team and possess a deep understanding of all theatrical disciplines.
The Stage Management program aims to be intentionally anti-racist in its curriculum and in its pedagogy, providing practical and theoretical knowledge of stage management and the other theatrical disciplines. Anti-racist tools and strategies are learned and examined during the course of study and integrated into the practice of stage management. The Stage Management curriculum embraces the dynamic intersection of theory and practice, and recognizes that theory can be an essential guide to how stage managers fulfill their jobs and cultivate style.
The interdisciplinary curriculum includes stage management production assignments and endeavors to be both rigorous and full of care. Required courses and electives provide a wide range of knowledge and training essential for today’s professional. In addition to the classroom requirements, students are assigned stage management positions for productions at David Geffen School of Drama and Yale Repertory Theatre. Stage managers regularly receive, assess, and implement feedback, and they are introduced to best practices in mentoring and teaching. Stage managers regularly mentor their classmates while working in stage management teams, and mentorship is an expected practice that every student will engage in. The curricular and production components are structured to prepare the student for work in the commercial, regional, and nontraditional arenas. Many graduates combine their professional practice with formal educational positions such as lecturer and professor. The program of study is devoted to dismantling historic stage management practices that have upheld systems of oppression. Students are encouraged to integrate anti-racism into their daily practices and foster a culture of inclusion where change, compassion, and adaptability are an ever-present part of the production process.
Yale Repertory Theatre is especially potent because it serves as a professional training center for the program. During the first or second year, the student may have the opportunity to work at Yale Repertory Theatre in a production capacity. As part of the second or third/fourth year of study, the student may be assigned as an assistant stage manager or as the stage manager for a Yale Rep production, provided the standards and qualifications set forth by the program are met and at the discretion of the chair. Students are not guaranteed an assistant stage management or stage management position at Yale Repertory Theatre, and Rep assignments, along with DGSD production assignments, can fulfill requirements related to the student’s thesis. Membership in Actors’ Equity Association may be attained by receiving an AEA contract as a stage manager or assistant stage manager at Yale Repertory Theatre. Membership to AEA can also be attained through AEA’s Open Access program for students who do not receive a Yale Rep contract.
Yale Cabaret provides an additional, although strictly extracurricular, outlet for the exploration of a wide range of material, including self-scripted pieces, company-devised original work, adaptations, and musicals. As of their second term and subject to approval by the program chair, stage managers have an opportunity to continue refining their craft at the Cabaret and to engage in the production process through other disciplines like design, directing, and performance.
Attendance at all scheduled classes, rehearsal calls, work-study assignments, and productions is mandatory. If students are unable to attend class, production, or work-study due to illness, family emergency, and the like, they have a responsibility to notify those who will be affected by their absence and the program chair. Students who have accrued three absences in one class will automatically receive an incomplete in the course. They must fulfill an additional assignment, at the discretion of the professor, in order to receive a grade for the course. As adult learners in training for a demanding profession, and members of a highly interdependent community of co-learners, students are expected to attend all classes, production assignments, and work-study assignments to the best of their ability.
Plan of Study: Stage Management
Classes of 2025 and 2026
Required Sequence
Year one
| Course | Subject |
|---|---|
| DRAM 3(06)a/b | Toward Anti-Racist Theater Practice in Stage Management |
| DRAM 6a/b | Survey of Theater and Drama |
| DRAM 40a/b | Principles of Stage Management |
| DRAM 53a | Authentic Collaboration |
| DRAM 59a | Creating a Positive Theater Safety Culture |
| DRAM 80a | Stage Combat and Intimacy for Stage Managers |
| DRAM 100a/b | Stage Management Seminar: Process and Practice |
| DRAM 108b | Fundamentals of Music Literacy (contingent on schedule)* |
| DRAM 112a | Introduction to Set Design |
| DRAM 149a | Production Planning |
| DRAM 191b | Managing the Production Process |
| DRAM 700a/b | Stage Management Forum: The Artistic Process |
| Production assignments as determined by chair | |
Year two
| Course | Subject |
|---|---|
| DRAM 3(06)a/b | Toward Anti-Racist Theater Practice in Stage Management |
| DRAM 21a | Founding Visions |
| DRAM 60a | Professional Stage Management Practice in the Equity Agreement |
| DRAM 60b | Professional Stage Management Practice in Performance |
| DRAM 80a | Stage Combat and Intimacy for Stage Managers |
| DRAM 124b | Introduction to Lighting Design (contingent on schedule)* |
| DRAM 141b | Law and the Arts |
| DRAM 158a | Introduction to Sound Design (contingent on schedule)* |
| DRAM 189a | Costume Production |
| DRAM 200a/b | Stage Management Seminar: Process and Practice |
| DRAM 600a | Theory-Guided Stage Management Practice |
| DRAM 700a/b | Stage Management Forum: The Artistic Process |
| DRAM 800a/b | The Call: Yale Rep Stage Management Staff Seminar |
| One required elective with chair approval (four electives required in total) | |
| Production assignments as determined by chair | |
Year three
| Course | Subject |
|---|---|
| DRAM 3(06)a/b | Toward Anti-Racist Theater Practice in Stage Management |
| DRAM 80a | Stage Combat and Intimacy for Stage Managers |
| DRAM 90b | Supportive Leadership Techniques: Implementing Methods as an Assistant Stage Manager |
| DRAM 300a/b | Stage Management Seminar: Process and Practice |
| DRAM 400a | Stage Management for the Commercial Theater |
| DRAM 500a/b | The Stage Manager’s Thesis |
| DRAM 700a/b | Stage Management Forum: The Artistic Process |
| DRAM 800a/b | The Call: Yale Rep Stage Management Staff Seminar |
| Three required electives with chair approval (four electives required in total) | |
| Production assignments as determined by chair | |
*Courses are required and will be taken first, second, or third year depending on when they are offered without schedule conflicts with the program’s core curriculum.
Class of 2024
Required Sequence
Year four
| Course | Subject |
|---|---|
| DRAM 500a/b | The Stage Manager’s Thesis |
| DRAM 800a/b | The Call: Yale Rep Stage Management Staff Seminar |
| Required electives with chair approval (four electives required in total) | |
| Production assignments as determined by chair | |
Additional Requirements for the Degree
Anti-Racist Theater Practice Requirement
Stage Management students (in years one to three) are required to enroll in DRAM 3(06)a/b, Toward Anti-Racist Theater Practice in Stage Management, in order to fulfill the School’s anti-racist theater practice requirement. Combined with the prerequisite workshop, Everyday Justice: Anti-Racism as Daily Practice, this course offers vital strategies for the lifelong development of individual and communal anti-racist practice.
Production Assignment Requirement
Each Stage Management student will be assigned one or more production assignments at DGSD and/or YRT each year. Assignments are made at the discretion of the chair and must be completed in fulfillment of the degree. Production assignments are carefully curated to each individual student and there is no set track or sequence that every student will follow. Assignments may change at any time and additional assignments may be given to a student if the need arises.
Electives Requirement
A total of four electives are required to fulfill the degree requirements and graduate. They may be taken beginning year two from the suggested list of elective courses. Courses at the other Yale professional schools or Yale College may also be considered. All required electives must be approved by the chair.
Suggested electives: DRAM 11a, Theater Organizations; DRAM 111a, Functions of Leadership: Organizational Direction; DRAM 115a, Introduction to Costume Design; DRAM 119b, Electricity; DRAM 121a, Human Resources: Supporting People and Building Culture; DRAM 168b, Recording Arts; DRAM 169a, Shop Technology; DRAM 169b, Rigging I; DRAM 199b, Professional Development for Technical Managers; DRAM 209a, Physics of Stage Machinery; DRAM 209b, Hydraulics and Pneumatics; DRAM 221b, Labor and Employee Relations; DRAM 224a, Introduction to Projection Design; DRAM 249a, Technical Management I; DRAM 249b, Technical Management II; DRAM 253a, Commedia.
Courses of Instruction
DRAM 3(06)a/b, Toward Anti-Racist Theater Practice This course meets both within individual programs and across disciplines, with students and faculty members as fellow learners, using readings, viewings, and discussions in pursuit of these goals: to identify the roots and branches of racism and white supremacy in the structures and practices of theater making in the United States, including at David Geffen School of Drama and Yale Repertory Theatre; to interrogate where the practices do harm and hinder; and to invest in the future by inviting students and faculty to imagine and uplift systems and cultures that do not depend upon or promote supremacy, to build a more just and equitable field. Narda E. Alcorn, Laura Brown-MacKinnon, James Mountcastle, Benjamin E. C. Pfister
DRAM 6a/b, Survey of Theater and Drama See description under Dramaturgy and Dramatic Criticism.
DRAM 11a, Theater Organizations See description under Theater Management.
DRAM 21a, Founding Visions See description under Theater Management.
DRAM 40a/b, Principles of Stage Management This fundamental course investigates theater making from the point of view of a stage manager. Through exploration of the nine phases of the production process (pre-production, first rehearsal, rehearsals, pre-tech, tech, previews, opening, performances, closing), students learn artistic and organizational techniques needed to professionally stage manage traditional and nontraditional productions. Management theory is integrated into each step of the nine-phase process, allowing each student to identify how their practice can be informed by theory and to begin cultivating their individual stage management style. Required of first-year stage managers. Narda E. Alcorn
DRAM 53a, Authentic Collaboration See description under Acting.
DRAM 59a, Creating a Positive Theater Safety Culture See description under Technical Design and Production.
DRAM 60a, Professional Stage Management Practice in the Equity Agreement An introduction to Actors’ Equity Association, the professional stage manager’s responsibilities within an Equity contract, and a stage manager’s collaborative relationship with all stakeholders in that contractual agreement. An emphasis of this course is on practical use and application of the contract with particular focus on rehearsal work rules and provisions. Specific stage management methods and techniques within the collaborative process of rehearsal and tech are closely considered. As a practical guide, this course uses the AEA/LORT agreement as its primary text and as reference for assignments and discussion. Questions are drawn around professional responsibilities and privileges central to the stage manager’s daily work experience. Students are required to consider these questions of privilege and responsibility as they each further develop a personal professional style where active commitment to inclusive and anti-racist theater practice is a hallmark. James Mountcastle
DRAM 60b, Professional Stage Management in Performance This course continues a study of the professional stage manager working in various situations. Looking at specific methods and practices of the work, the focus shifts in the spring term to processes in place after the show has opened. Among the topics discussed in this course: backstage set-up, cue calling, show maintenance, performance assessment and reports, understudies, replacements, and a stage manager’s close working relationship with actors in performance. Serious consideration of these topics is intended to lead to a candid ongoing discussion of practical realities and principles crucial to the notion of professional stage management as a career. James Mountcastle
DRAM 80a, Stage Combat and Intimacy for Stage Managers This course is designed to provide the stage manager an understanding of the techniques and safety measures employed when staging combat and intimacy. Through both group-led discussion and practical learning, we establish how to create and maintain the safe and equitable room needed for this work. We explore the spectrum of staging emotional and physical intimacy, unarmed combat, swordplay, weapon use and maintenance, theatrical effects, inter-program collaboration, and safety issues. Kelsey Rainwater, Mike Rossmy
[DRAM 90b, Supportive Leadership Techniques: Implementing Methods as an Assistant Stage Manager This course is structured to investigate the many tools, techniques, and values of being a supportive and thoughtful member of a stage management team (ASM, PA, and Sub SM). Evaluating tools to run a deck, providing adaptable models of paperwork, and incorporating flexible systems are all encapsulated in the course. Through analysis of methods, investigation of communication tactics, and honest discussions of dynamics in the current theatrical field, this course focuses on a stage manager’s application of tools and theories while remaining vulnerable, authentic, and rooted in their values. Not offered in 2023–2024]
DRAM 100a/b, 200a/b, 300a/b, Stage Management Seminar: Process and Practice This dynamic investigation of process is designed to bring the entire program together with core stage management faculty to explore, reflect, and discuss how we approach the art of stage management through the lenses of COVID-19 and anti-racism; and to consider how we can identify the characteristics of white supremacy and decentralize white culture from our current theater conditions and practices. This deep learning encourages various points of view while stressing commitment, compassion, kindness combined with the courage to name and challenge racism, honesty, focus, dignity, and respect for the subjects at hand. Narda E. Alcorn, Laura Brown-MacKinnon, James Mountcastle, Benjamin E. C. Pfister
DRAM 108b, Fundamentals of Music Literacy See description under Design.
DRAM 111a, Functions of Leadership: Organizational Direction See description under Theater Management.
DRAM 112a, Introduction to Set Design See description under Design.
DRAM 115a, Introduction to Costume Design See description under Design.
DRAM 119b, Electricity See description under Technical Design and Production.
DRAM 121a, Human Resources: Supporting People and Building Culture See description under Theater Management.
DRAM 124b, Introduction to Lighting Design See description under Design.
DRAM 141b, Law and the Arts See description under Theater Management.
DRAM 149a, Production Planning See description under Technical Design and Production.
DRAM 158a, Introduction to Sound Design See description under Design.
DRAM 168b, Recording Arts See description under Design.
DRAM 169a, Shop Technology See description under Technical Design and Production.
DRAM 169b, Rigging I See description under Technical Design and Production.
DRAM 189a, Costume Production See description under Technical Design and Production.
DRAM 191b, Managing the Production Process See description under Theater Management.
DRAM 199b, Professional Development for Technical Managers See description under Technical Design and Production.
DRAM 200a/b, Stage Management Seminar: Process and Practice See description under DRAM 100a/b.
DRAM 209a, Physics of Stage Machinery See description under Technical Design and Production.
DRAM 209b, Hydraulics and Pneumatics See description under Technical Design and Production.
DRAM 221b, Labor and Employee Relations See description under Theater Management.
DRAM 224a, Introduction to Projection Design See description under Design.
DRAM 249a, Technical Management I See description under Technical Design and Production.
DRAM 249b, Technical Management II See description under Technical Design and Production.
DRAM 253a, Commedia See description under Acting.
DRAM 300a/b, Stage Management Seminar: Process and Practice See description under DRAM 100a/b.
[DRAM 400a, Stage Management for the Commercial Theater The focus of this course centers on stage management for the commercial theater with emphasis on process and current conditions in the industry. As a primer for the stage manager to work in the commercial theater, this course is an in-depth study of the production process according to the theatrical unions who perform backstage on Broadway, including but not limited to AEA, I.A.T.S.E., Local 764/Wardrobe, Local 798/Hair and Make-up, and Local 802/Musicians. Not offered in 2023–2024]
DRAM 500a/b, The Stage Manager’s Thesis Each third- or fourth-year student must fulfill three requirements in fulfillment of their thesis: stage manage a major production at the School or Yale Repertory Theatre; prepare and submit the production book; write a comprehensive production reflection or write about a stage management topic approved by the program chair. Comprehensive production reflections must include a critical examination of the employment of theory and how it influenced the stage manager’s process throughout the production. Written stage management topics must be approved by the chair no later than the end of the second or third year. Both production reflections and stage management topics must be evaluated and critiqued by two approved independent readers. The final, bound edition of the written thesis is considered by the faculty along with production work in determining whether a degree should be granted. Narda E. Alcorn
DRAM 600a, Theory-Guided Practice: Stage Management and Teaching Theory-guided practice aims to incorporate theoretical frameworks into the stage manager’s leadership and teaching process. Theory-guided practice incorporates perspective, long-term thinking, a point of view, anticipation, innovation, and anti-racism. Students are introduced to such theoretical frameworks as Care Ethics, Utilitarianism, Service Leadership, Adaptive Leadership, and Emergent Strategy to integrate into their process. bell hooks’s Teaching to Transgress and Teaching Critical Thinking serve as foundational texts for students to develop their teaching philosophy. Through class discussions, writing assignments, and critical examination, students actively and intentionally learn to integrate theory into their daily stage management and teaching practices. Narda E. Alcorn
DRAM 700a/b, Stage Management Forum: The Artistic Process This two-term course focuses on stage management techniques and experiences from a variety of collaborators. Through a series of multi-week classes (modules) and workshops led by professionals in a variety of entertainment fields, students explore artistic process and learn specific management skills pertinent to diverse genres. Topics rotate on a three-year basis and include music, dance, opera, event management, industrials, musical theater, touring, film, television, theater for children, theme parks, theatrical technology, computer applications, vocal training, and physical awareness. Open to non-Stage Management students with permission of the chair. Narda E. Alcorn; and other professional program lecturers
DRAM 800a/b, The Call: Yale Rep Stage Management Staff Seminar This weekly seminar discussion is required of all stage management students in their second, third, and fourth years of study. Current issues playing out in Yale Repertory Theatre’s rehearsal rooms and meetings and on its stages are discussed among stage management students working at Yale Rep and with the production stage manager. This course is meant to bring the David Geffen School of Drama stage management student class experience into close alignment with the Yale Rep professional experience and to formalize the relationship of Yale Repertory Theatre as an exemplary teacher in professional stage management at the School. James Mountcastle
DRAM 900a/b, Independent Study and Enrichment This course allows the curious Stage Management student to take a deep dive into a specific area and engage in self-study and reflection. This exploration is student-led, with the guidance of the instructors, and students are encouraged to explore other courses through Yale College, the Graduate School, and the other professional schools. Improving skill sets, studying diverse topics, and exploring the discipline and the field are among the many ways students can engage. Each student will be assigned to one of the instructors, who will approve the student’s proposed Independent Study and Enrichment. Narda E. Alcorn, James Mountcastle