The stage manager is one of the most important people at any live event, yet their role is frequently misunderstood by organisers who have never worked with one. A good stage manager is the reason your event runs on time, changeovers happen smoothly, and nobody on stage looks confused or unprepared. A bad one, or the absence of one entirely, is the reason things overrun, performers are left waiting, and the backstage area descends into chaos.
What does a stage manager do?
The stage manager is responsible for the smooth running of everything that happens on and around the stage. Their core responsibilities include managing the running order and ensuring that the show stays on time, coordinating changeovers between performers, calling cues for sound, lighting, and any other technical elements, managing the backstage area and ensuring that performers are ready to go on at the correct time, communicating between performers, the technical team, and the event management, and handling any problems that arise during the show, from equipment failures to performers running over time.
In essence, the stage manager is the conductor of the live event. While each specialist (sound engineer, lighting operator, performer) focuses on their own area, the stage manager holds the whole thing together, ensuring that every element comes in at the right time and in the right order.
When do you need a stage manager?
Any event with multiple performers or acts on a single stage needs a stage manager. This includes music festivals and multi-act concert bills, conferences and seminars with multiple speakers, awards ceremonies and corporate events with a structured running order, theatre productions, comedy nights with multiple performers, and community events with a staged programme of entertainment.
For a single-act concert in a venue with a resident technical team, a dedicated stage manager may not be necessary, as the venue's team will typically manage the stage. But for anything involving changeovers, time management, and coordination between multiple parties, the stage manager is essential.
The skills of a good stage manager
Stage management requires a specific combination of skills that is not easy to find. The best stage managers are calm under pressure, because things go wrong at live events and the stage manager needs to solve problems quickly without transmitting panic to the rest of the team. They are assertive without being aggressive, able to tell a headliner their set is being cut short without creating a confrontation. They are detail-oriented, tracking dozens of cues, timings, and logistics simultaneously. They are excellent communicators, able to relay clear, concise information under time pressure. And they are experienced enough to anticipate problems before they happen.
These skills are developed through experience, not training. While stage management qualifications exist and are valuable, there is no substitute for time spent managing stages at real events. When hiring a stage manager, experience on events similar to yours (in scale, genre, and complexity) is the most important criterion.
The running order and show call
The running order is the stage manager's primary document. It lists every element of the show in sequence, with timings for each. A detailed running order includes the scheduled time for each act or element, the duration of each set, changeover times between acts, technical cues (lighting states, sound changes, video playback), and notes on any specific requirements (introductions, speeches, award presentations).
The stage manager uses the running order to "call the show," meaning they give cues to the technical team at the correct moments. A show call might sound like: "Sound, standby for act two... Lighting, standby for act two... Go sound... Go lights." This structured approach ensures that every department is coordinated and that nothing is missed.
For events with a strict broadcast or streaming schedule, the show call becomes even more critical. Being even thirty seconds off time can have significant consequences. At festivals and less rigidly timed events, the stage manager has more flexibility but still needs to manage the overall schedule to prevent overruns that affect later acts.
Managing changeovers
The changeover, the period between one act leaving the stage and the next act starting, is where stage management makes the biggest visible difference. A well-managed changeover at a festival might take 15 to 30 minutes and involve striking one band's equipment, setting up the next band's equipment, running a line check or sound check, and having the next act ready in the wings to go on stage immediately after the changeover is complete.
The stage manager coordinates this by working with the technical crew, the stage crew, and the performers to ensure that everyone knows what is happening, in what order, and on what timeline. Time warnings ("ten minutes to changeover," "five minutes to stage") keep everyone aware of where they are against the schedule.
Efficient changeovers require advance planning. The stage manager should have a changeover plan for each transition, including a stage plot (showing where equipment is positioned), an input list (showing what needs to be connected to the sound desk), and a list of any special requirements (piano, drum riser, specific monitor setup). This information typically comes from the performers' technical riders and should be gathered well in advance.
Backstage management
The backstage area is the stage manager's domain. They are responsible for ensuring that it is organised, quiet (so performers can prepare), and that only authorised people are present. Access control backstage is important both for security and for the smooth running of the show. A crowded, chaotic backstage area makes it harder to find performers, manage equipment, and maintain the focus needed to run a tight show.
The stage manager should know where every performer is at all times in the lead-up to their set. This means maintaining communication with artist liaison, checking dressing rooms, and issuing time calls ("thirty minutes to stage," "fifteen minutes to stage," "five minutes, please") to ensure performers are ready.
Working with the stage manager as an organiser
As the event organiser, your relationship with the stage manager should be collaborative but boundaried. Provide them with all the information they need: the running order, technical riders, contact details for performers and crew, and any constraints or priorities. Then trust them to manage the stage.
If you need to make a change during the event (cutting a set short, rearranging the order, adding an unscheduled element), communicate it through the stage manager rather than directly to the technical team or performers. The stage manager is the coordination point, and going around them creates confusion and undermines their ability to manage the show.
A good stage manager will push back if your requests are impractical. If they tell you that a changeover cannot happen in five minutes or that adding an extra act will cause the show to overrun by an hour, listen to them. They have a more detailed understanding of the operational reality than you do from the production office, and their pushback is usually well-founded.
Hiring a stage manager
Find stage managers through recommendations from other organisers, production companies, or venues. Check their experience on similar events. Discuss your event with them in advance and gauge their approach: do they ask detailed questions? Do they request information proactively? Do they suggest improvements to your running order? These are signs of a thorough, engaged professional. Understanding how to work with freelancers generally will help you get the most from the relationship.
Pay your stage manager well. They are managing the single most visible element of your event, and the difference between a good one and an average one is the difference between a show that runs like clockwork and one that lurches from one crisis to the next. It is one of the best investments you can make in the quality of your production.
