Theatre Design & Technology - Summer 2021 - 18

replacing lights, and beyond, they are
labeled as the " problem. "
Setting these boundaries is difficult,
but part of that process is letting go of
the unrealistic and ego-indulgent expectations
that you're the most competent
person in the room. Bringing in new
voices, opinions, and methods does not
minimize your achievements; it expands
your toolbox and creates space for you
to focus on your actual job at a healthy
pace. And when your coworkers do well,
be sure to give credit and appreciation
for their work, and if you see someone's
work getting
miscredited, speak up.
This goes not only for ASMs but for the
myriad other people working tirelessly
behind the scenes to make productions
run-assistants, administrators, carpenters,
front of house, wardrobe, crew, and
beyond. Not only is this the nice thing
to do, it helps serve as a reminder that
everyone in the room can be a valuable
resource for advice and expertise.
On that same note,
individualism
can manifest in assuming that everyone
in a specific role thinks, acts, and has
the same physical capabilities as you.
Assigning a particular task to a stage
manager or ASM without discussing
their physical ability or previous knowledge
can create a block in open communication.
For example, Quinn was
once asked to complete a task that, as
a disabled person, she will never be
able to do. In this, she was thrust into
a situation where she either had to
openly disclose her disability to her coworkers
or be marked as incompetent
because she isn't able to do anything
requested of her at a moment's notice.
Discussing the varying abilities of your
team and others around you is vital to
create a space where individuals feel
free to speak openly about what they
have knowledge of and where others on
a team can fill those spaces or teach.
Individualism works in the opposite
direction as well; while misdirecting
spotlights of praise, it also keeps broader
systemic issues in the shadows.
When you're focused on the individual
level, it's easier to believe that problems
that arise are caused by and can be
fixed by removing " one bad apple " -that
if this single individual is given a talking
to or (on the rare occasion) fired, then
the issue is resolved. But we know that
isn't the case. Abuse of power and the
harm it causes is widespread in the theatre
and beyond. When we focus on single
incidents or don't speak up because
we believe an issue is only affecting ourselves
and our show, we miss all the other
people affected and those who will be
affected in the future.
The Company Way
Only One Right Way
Starting at a new theatre is always
tough, especially one entrenched in
history and tradition. Navigating the
culture of a new company is like walking
through a minefield. Who has been
there the longest? Who is an ally? Who
should I avoid? Who influences if I will
get hired again?
Inevitably, you will encounter someone
who says something akin to, " in
order to succeed and climb up the ladder,
you need to play the game. " What
is the game? Well, the game is all the
unwritten rules that have become tradition.
The artistic director only talks to
the " talent, " so don't bother them. This
technical director will respond to you
IT'S TIME TO START MAKING THE
IMPLICIT EXPLICIT. IF A COMPANY
HAS UNWRITTEN RULES THAT YOU
FIND PROBLEMATIC, TALK ABOUT
IT. ASK, " WHY DO WE DO IT THIS
WAY? "
18 | THEATRE DESIGN & TECHNOLOGY | SUMMER 2021
only once you have proven you know
how to explain it to the director better
than them. If you want to be the PSM,
you need to survive three seasons as an
ASM and not make the PSM look bad.
Fridays are " No Pants Friday " in the
booth, etc.
It's time to start making the implicit
explicit. If a company has unwritten
rules that you find problematic, talk
about it. Ask, " why do we do it this way? "
Do not take " because that is how we
have always done it " as an acceptable
answer. There are traditions that should
not continue because they cause harm.
The first step in healing that harm is acknowledgment
that the practices have
caused harm.
Part of that is examining how stage
managers are taught to be stage managers.
Many colleges in the U.S. have
outstanding programs and classes that
focus on stage management. However,
your education
is
greatly
influenced
by your individual educator's opinions.
Stage management educators must
take into account that there is no one
right way to stage manage. There are
different styles, different techniques,
and specializations for different genres.
If you asked five professional stage managers
the same question, like " how do
you tape a floor? " there is a high probability
that you would get five different,
and correct, answers. People teaching
stage management need to be open to
sharing different techniques and ensuring
their students know that their way is
not the only right way.
In this new paradigm, people-first
policies need to be the priority over
money-first policies. We no longer live
in a world where companies invest in
employees' professional development
or have the expectations that they will
take care of you when you retire. Yet,
companies expect employees to stay
loyal and with a company for decades.
Theatre is no different.
To make sure that we get out of the
" play the game " mentality, we need to
look at hiring practices and criteria to
ensure we cast a wide net of applicants.
Give more people the opportunity to interview
and have a conversation with
you. Look at the company policies and
ask what they do to keep employees
around, especially BIPOC employees.
Ask how they treated their employees
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