What is a Prompt Book?
A Stage Manager’s script is called a Prompt Book and it contains technical cues, blocking, schedules, and much more. The Prompt Book is a large binder with plastic dividers between sections to organize the information within.
The Stage Management team is responsible for creating and updating many of the documents that go in the book, with the Production Stage Manager overseeing and creating the prompt book. Read What Does A Stage Manager Do? For more information on the other responsibilities of a Stage Manager.
Putting together the book
1. Pick the Right Binder
For large shows and any musical choose a 3 inch binder, but for straight plays and short term shows you can get away with a 2 inch binder. For short shows lasting 2 months or less, you can use a regular binder. For a production longer than 2 months, use binders with rubberized edges for durability.
Another option is to purchase one heavy duty binder to use for every production, then after each production you can transfer all documents into a cheap binder for storage. Staples 3 inch rubberized binders are great for long term use.
2. Create a Cover Page
The first thing you should make before anything else is a cover page outside of the binder which should include information that could be useful if this binder was lost, as well as at a glance info. Information like your name and phone number, the show title, production dates, and the company name. I personally like to make these pages look visually pleasing. An image from the poster or other marketing materials can help differentiate your book from others easily.
3. Create Clear Categories and Sections
When creating my book, I like to split things up into broad categories (initial organization) and smaller sections (to divide categories further for ease of use). Setting up the categories and sections ahead of time gives me a clear place to put each document as they are created or received. In my mind there are 3 main categories of a prompt book:
Main categories should be differentiated from the smaller sections within them for clarity. I use clear plastic dividers, reserving the top position for the broad categories, and using the lower tabs for smaller section divisions. If a category uses more tabs than fit, I start one below the top with the new tabs so each major category starts at the top.
A Quick Note:
Every SM sets up their book differently, and even from one show to the next. Every book I make tends to be slightly different based on the needs of that production, so this is merely a starting point. You will likely find your own organizational system.
4. Create the Documents
The SM team will create most of the documents for the prompt book, but a few will be provided by other departments and designers. For documents created by the SM team, rely on ASM‘s to create the documents they will actively use. If an ASM designs a document and updates it every day, they can quickly find information when needed.
Creating sticky labels for the start of each document within a section can be helpful in finding the correct document quickly. These sticky labels should only be used for non-safety related labeling, not for marking cues or blocking within a book for longer than a day. If you chose to use them during tech when cues will be adjusted often, be cautious moving the book. Keep tape on hand to solidify placements for cues that could be a safety issue if missed.
What documents should go in each section of the prompt book?
Category 1: General Information
Scheduling
This section will hold any document you need for scheduling rehearsals. Since this is a daily task, I put this section first for convenience. It should include:
- Production Calendar (with rehearsal and performance dates, tech dates, actor conflicts, etc)
- French Scene Breakdown (Read my article How to Create a French Scene Breakdown)
- Weekly Schedules
- Daily Calls
Cast and Crew Information
This section is a bit open to interpretation as each SM prefers to keep different info written down about the actors and crew. I tend to include more info than some other SM’s in this section, but I have found it helpful to learn their names quickly and to know a bit about them and their personal style and preferences. Remembering someone’s name at the start of the second day of rehearsal makes them comfortable coming to you and trusting their issues will be taken care of. The normal things to include are:
- Contact Sheet (Read my Guide to Creating a Contact Sheet which includes a template)
- Emergency Medical Info (including allergies they would like to disclose)
The optional extras I include are:
- Actor Headshots
- Actor Preference Sheet (place to jot down any interests, preferences, birthdays, favorite snacks etc.)
Company Policies and Procedures
These documents should be provided to you by the company you are working for:
- Emergency Procedures
- Covid Policies (if needed)
- Anti-Discrimination/Sexual Harassment Policies and Procedures
- Policies for Working with Child Actors (if needed)
Union Information (if needed)
Working on live productions will often mean working with unions in one way or another. Actors Equity Association (AEA) is the most common union in theatre and may be one you eventually join as an SM. Working with unions requires keeping certain documents easily accessible, and having it all in one place is helpful. Unions deserve much more thorough coverage, so stay tuned for more information.
Scenic
The scenic section of the prompt book should include:
- Scenic Ground Plan
- Renderings and Paint Elevations
- Shop Drawings
- Set Dressing
- Line Schedules
- Projections Information (if needed – could be its own section depending on how much the scenic design relies on projections)
This should all be kept for reference especially during rehearsals. The director will inevitably ask how tall a light post will be or what color something is. Often a picture is worth a thousand words, so I find keeping these things handy is very helpful for those who have a hard time visualizing. I also post copies of the ground plan, paint elevations, and renderings in the rehearsal hall for people to reference. This often limits questions ahead of time, since people can easily access the information on their own.
Props
Often the SM team’s prop list becomes the most comprehensive list for the props department since things come up in rehearsal. Because of this, keeping the props sheet updated and distributed is vitally important. Along with a general list of props, there should be a props tracking sheet created which will show entrances/exits of props on stage, who they are handed off to, and where they need to track to backstage. This always helps when tracking down lost props, since you can follow their path easily from one document. This is the first document I delegate to an ASM, since they typically check presets during performances.
Costumes
I often find it takes gentle reminders to the costume team that you need this information, especially in a regional setting. They know more prior to tech than you can hope to, so trust them to build this for you. You should ask for:
- Costume Piece List
- Costume Tracking
- Renderings
- Quick Change Lists
Costume renderings can be a bit tricky to include during the rehearsal process at some regional theaters because the final product is often going to look a bit different than the renderings. Due to time and budget constraints, things will be pulled from stock, rented, ordered on amazon, or built which all lead to some level of variation from the original vision. Most of the time there isn’t a complete rendering package for the final products, so don’t stress too much. The piece lists are much more important when you need to figure out what pieces an understudy needs, so focus your energy here.
Lighting
The Master Electrician should keep this information on hand, but it’s often helpful to have an extra copy just in case. This information is almost always created and updated by the Lighting Designer.
- Light Plot
- Channel Hookup
- Instrument Schedule
- Magic Sheet
- Light Cue Sheet
- Follow-Spot Cue Sheet
Category 2: Rehearsal Documents
General Rehearsal Documents
This is a general catch all for things that might not have a home yet, as well as things you might actively need during a rehearsal. One thing that is often helpful is a glossary, which should include any words in the script which might not be common knowledge to help clarify terminology. A table of contents with page numbers of scenes and musical numbers for easy locating during rehearsals is also helpful if a sticky tab gets lost.
Sheet Music (if needed)
Keeping a copy of the score on hand is helpful for plays with music, and required for musicals and opera. If you are able to read music, it may be helpful to keep an extra copy of the score on hand for complex cue sequences once you get into tech. Musicals can usually be called without reading music, but opera requires at least basic music reading ability, but proficiency is always better. Whether you are able to read music or not you should still keep music on hand during rehearsals and the run to at least lend a copy out.
Learning to read music at a basic level to at least keep count along with the music isn’t too difficult, and it is a skill I think every Stage Manager should have. This video “How to Read Music for Stage Managers” is quite long, but might be helpful. Start around the 23:40 mark for the most important bit!
Blocking Script
Up until now, most of the items in the prompt book are similar no matter who creates and uses them. Blocking scripts can change from one production to the next even with same Stage Manager. Each stage manager is completely different all together in how they set them up, but there are a few common themes.
For a right handed Stage Manager’s Blocking Script, the script pages go on the left side (which means hole punched backwards), and slip sheets (see below) go on the right since they are written on often. If you are left handed, you may want to flip this order.
Recording blocking generally involves use of shorthand for names, stage directions, and common actions on stage. Since recording blocking is a much larger topic all together, I have written an entire article on How To Take Blocking Notes, which I suggest you read prior to your first blocking rehearsal.
A Slip Sheet is a page with copies of the basic ground plan with lines next to it for blocking notation. The number of ground plans per page varies greatly by each SM, some using only 1, others I have seen using up to 8!
Category 3: Performance Documents
General Performance Documents
Similar to the rehearsal documents section above, this section will include things needed for the daily running of the show like:
- Preset Lists
- Fight Call and Lift Call Info
- Quick Change Info
Cue Sheets
This should include cue sheets from every relevant department on a production. Any cue that you call should be on a cue sheet, which each department will normally create prior to tech. They should update these and provide them to you once the show opens, but I find it best to gently remind everyone on the day before opening so it is on their mind. The one exception is scene shift sheets, which are created by the SM team since they are responsible for scene changes during rehearsals. Some particularly prepared scenic designers will provide scene by scene breakdowns, but don’t hold your breath.
Calling Script
In the Prompt Script, keep script pages on the right with cues written in the right margin. Any reference materials needed go on the left attached to the back of the previous page. This is backward from the blocking script where script pages are on the left, and slip sheets on the right.
I place this last in the book because I prefer flipping at the end of the show as I call cues. Since I am right handed, I find its easier to flip to a section in the front of the book with my off hand while keeping the script pages in view (helpful if I need to reference something while calling the show).
During tech I keep the calling script in a separate binder, putting it in the prompt book once the show is open. With it separate I am able to reference anything in the main book without flipping back and forth.
There are multiple ways to set up a calling script, though most people use a similar system. Generally single sided pages formatted with large margins and cues written on the right hand side of the page.
Who is responsible for making the Prompt Book?
The Production Stage Manager (or PSM) is responsible for creating and updating the Prompt book. (If your organization only uses SM and ASM titles, then the SM is responsible for creating the Prompt Book.) Although the PSM creates the book, the documents are created by the SM team as a whole with each member making their own pieces. I most often delegate props lists, scene shift sheets, run sheets, and preset lists to ASM’s since they use these during tech while they are still learning the show.
What should you avoid while creating a Prompt Book?
The biggest fault an SM can make when creating a prompt book is making a book that only they can use. While your book should reflect your style, your system should be useful to any any other SM that picks it up. Your notes should be detailed, but concise enough to quickly understand. This is a skill only experience and looking at lots of good and bad examples can teach. Some common mistakes:
- Non-standard blocking or cue notation
- Leaving notes too vague, or too detailed
- Leaving documents unorganized
- Using sticky tabs for long term notes (they fall out easily)
- Storing documents in the pockets (they fall out easily)
- Over-use of color coding
- Missing useful information
Most Stage Managers are flexible, and able to adopt a new system when filling in, but anything you can do to aid that is helpful.
Digital Prompt Books
Digital Prompt book are slowly making their way into use as more and more young Stage Managers join the ranks. Most Stage Managers can agree that using a Digital Prompt book comes with some risks, but first let’s talk about what a digital prompt book is.
Most digital Prompt Books are a collection of the most common documents which are held on an iPad. This will usually be running a note taking software with the ability to edit and annotate on top of a PDF version of the document or script.
I personally use the larger size iPad Pro, which is almost the same size as a regular sheet of paper. I run PDF Expert, which has a two page view which is perfect for blocking, but it is expensive (yearly subscription). GoodNotes is a less expensive one time purchase software with most of the same features, but no two page view.
Most Stage Managers print all documents which they store on their iPad to have a physical backup incase something goes wrong with the iPad. I have used mine for multiple shows over the last 4 years, an have never had a program crash on me during a production.
Prompt Book Software and Apps
I am currently working on a list of SM software which will help put all of this together. I will link there from this page as soon as it’s ready!
