How Show Calling Changes Based on the Production

Bryan Runion · 2023-10-05

In this October edition of Half-Hour, I am discussing show calling and how the role of the show caller might change depending on the type of production you are working on, and what considerations need to be made in certain scenarios, and what expectations to have going into these scenarios. I’ve been thinking about how to approach writing this article for many months, and it will probably be an article that gets updated from time to time. If you have more information to add as a stage manager, please send me a message!

Before we dive into the specifics of show calling, let's lay the foundation by understanding what show calling is all about. At its core, show calling is the process of directing and orchestrating a live event. It involves collaborating with a team of other departments that are responsible for various aspects of the production and ensuring everything runs smoothly, according to a predetermined script. The script could be an actual script with lines people say, and sometimes the script can be a structure formed entirely on visual cues, and many times cues can be based on intuition. Translating, especially visual and intuitive cues, into writing can be the most difficult part of creating a calling script, but quickly transcribing what is happening onstage into a written format and executing them correctly, in my opinion, is what makes a great show caller. It becomes a sort of sixth sense.

Ultimately, a show caller is responsible for communicating cues, instructions, and timing to the team during the event. This role requires exceptional organizational skills, clear communication, and a cool head under pressure. These skills must be easily done at both normal and high levels of stress when things sometimes go sideways.

Let's Discuss Different Types of Show Calling

When I think of live performance, I usually categorize it into either traditional or non-traditional: traditional being straight theatre like plays and musicals and non-traditional being everything that falls outside of that structure; however, the longer I work on live entertainment, the more I realize that most of it falls into that non-traditional category. As I began to think about what makes live performances different from one another, and as a show caller, I started thinking about the differences that surface when working on differing project styles.

Project Types and How the Dynamics of the Event Change How You Might Approach Putting a Call Script Together

• Rehearsal Time will vary drastically from project to project and will be dedicated heavily by budget and the needs of the production concepts. In my experience, theatrical rehearsal times are much longer than others due to the number of performances, while corporate events might only have one afternoon before the event for rehearsal.

• Show Callers might be involved in planning rehearsals and event prep; they might even be responsible for creating the schedules and coordinating with other departments. The Show Caller might also start later in the process for the event only and have to catch up quickly based on the pre-production work.

• The experience level of the presenters and the team preparing the event could dramatically impact how well you can do your job when you come in as only a Show Caller, such as in a corporate event, for example.

• At times, access to the building might only be within a specific window for rehearsal time and for technical rehearsals, so preparing and getting the script under your belt might need to be done via a paper technical rehearsal where you only discuss what needs to happen.

• Creating organized paperwork is important regardless of what kind of production you are calling, but sometimes printed paperwork will be used, and sometimes digital is easier and quicker, especially when information is prone to change rapidly.

Calling Considerations for Different Project Type Scenarios

• In corporate events, the use of DSMs (Down Stage Monitors) and teleprompters for the presenters is a common practice. Any changes to the script need to be communicated to the operators for these devices as well as calling them up at the correct times.

• A Show Caller wouldn’t usually be responsible for cameras, but being aware of filming needs, how those are impacted, and how the live event portion impacts their work is something to be mindful of, especially when there could be live broadcasting where commercials are built into the programming. Timing could become very important.

• Keeping an eye on scenery and performers that might be flying or on automated pieces. Keeping safety as a top priority always. Clears are often given for automated moves.

• As you build your calling script, consider how these complex systems might communicate. Are they using timecode / midi / another communication system and between more than one interface? It’s not our job to know the intricacies, but being aware of them can help us as Show Callers.

Calling differences depending on the type of show

• Traditional - Plays and Musicals Based on a pre-determined script used during a longer rehearsal period of at least three weeks or more. Blocking notations are used to track where people move onstage so that the director can revisit scenes and what was done in the previous rehearsal. Cues are often created on words and lines because they are defined markers for the starts and ends of scenes, although there are visual cues, too. For example, when a character crosses the stage to pick up the phone or when a character turns the light switch on. Cues can also be taken off of the orchestra conductor in musicals for downbeats and buttons. Show Callers are often responsible for calling all cues in a show outlined in the calling script. Cue lights are used frequently to help with the amount of cues that need to happen, often at the same time—more so than in other genres.

• Opera is based on a musical score and is dictated entirely by the musical cues. There typically aren’t spoken scripts because all of the words are sung in Opera. Blocking notations similar to theatrical productions are used to track where people move onstage so that the director can revisit scenes and what was done in the previous rehearsal. Entrance and Exits are more important in Opera as Stage Managers are often responsible for cuing singers onstage for their scenes. Calling scripts are usually made on the piano score, so it is easy to communicate start and stop points with the Maestro/a during rehearsals. It is a common language for everyone to use. Show Callers are responsible for calling all cues in a show like in traditional theatre, but with the live orchestra, there is one less element of audio / sound cues that are not present in Opera. A caveat to calling cues is that the backstage managers are usually the ones responsible for cueing performers for entrances.

• Dance is based on physical movement, typically without a script. Most dance will have a structure and nomenclature that is defined by the choreographer and dancers. There might also be a combination of elements with scripted parts and unscripted parts. Blocking notations are usually not a requirement for dance as the choreographer has a solid understanding of the choreography and the specifics of the piece. Video is used regularly for dance rehearsals to review afterward. Calling scripts are typically created from scratch and in a format that works best for the show caller. I usually create the calling script in a word document and notate the visual cues I am looking at before and when the cue needs to happen. Show Callers can be responsible for calling all cues in a show, and sometimes the lighting department will take all or part of their own cues depending on how much rehearsal was allotted and how complex the lighting design is.

• Corporate and Live Events are based on and driven by the goals of the client who is hosting the event, typically a one-time event. Sometimes there might be several scripts that need to be compiled into one. It might also consist of many forms of performance, including presenters, a dance piece, multimedia, music, etc. A traditional script usually will not exist, and a document will usually be created during pre-production called a Show Flow, which is an excel document / spreadsheet matrix that outlines what each department needs to do for each moment of the show. Corporate Events move quickly and with very little time on-site. Because of this, much of the prep work is done prior to the event. Show Callers are responsible for calling all cues in the show. These events move so quickly and change on a dime, so having that one person orchestrate the event is crucial.

• Circus Circus shows are usually created and established to maintain a long-running show in residence at one location or on tour moving around the world. Similar to dance, circus is often not based on scripted material but rather all physical. Circus is heavily involved with musical elements and also with a live band playing during the performance. Performers are often in the air on automated machinery, which heightens the level of attention to safety and awareness of what is happening onstage and in its periphery. Automation and Special Effects (such as water effects, pyro, haze/fog) are always called by the Show Caller for safety reasons and consistency. Other technical cues such as lighting, projections/video, and audio sound effects are often taken by the department board operator rather than being called. I don’t know the history behind this standard practice, but it is consistent in the circus world.

• Immersive Usually based on something specific such as a television show or a social phenomenon, scripts may or may not be present in the process of creating an immersive event. Sometimes part of the event is scripted, and other parts are not. Immersive events are designed to be repeated over and over and over again. Because of this fact, there usually aren’t Show Callers who call cues, but automated systems are running the technical elements. As Stage Managers, we are paying closer attention to maintaining the event and being problem solvers when things start to not go according to plan.

Part of Half-Hour’s guide to stage management