Stage Managers are essential to every show put on at the ADC Theatre yet many are unaware as to how integral they are to the Cambridge Theatre scene. In order to ‘lift the curtain’ on what exactly the roles involve, I met up with Cat Watts and Oscar Yang, the respective Stage Manager (SM) and Deputy Stage Manager (DSM) for this week’s ADC Mainshow Grief.

How would they describe their role in a sentence? Cat ponders and then replies “If you keep everyone safe, happy and ensure they have all that they need, you’re doing well.” Whilst, according to Oscar, the Deputy Stage Manager “controls the show”. More specifically, he tells me, the DSM is responsible for cueing the technical aspects of each production on each night. He describes how he has a “holistic position” to see the coming together of all technical aspects.

“I like being a jack of all trades, and that’s what a stage manager is”, explains Cat, “A SM should be able to help out with absolutely everything: judging a prop to be aesthetically appropriate; helping build the set; rigging the lights; running to the sound box in an emergency. It’s all about being a jack of all trades and a master of none and that’s what really appeals to me.” Being at the ADC Theatre clearly helps as she adds “It is exceptional to have access to this resource.” She says that the theatres she visited as part of the European Theatre Group’s touring show do not compare to the ADC in how well equipped they are.

With regards to their upcoming production Grief, both admitted there is something inherently tricky about box set [a three-walled set with the audience as the fourth wall], naturalistic shows. “Theoretically,” Cat notes, “it should be easier; the set and props are normal objects, telephones and teacups etc., but because it is naturalistic everything has to be exactly right.” Thus in Grief the challenges lie in the detail and less in the challenge of spectacle such as having to set a manuscript on fire and have it thrown in the air (which Cat had to orchestrate in a previous show).

“The cast are really experienced too,” Oscar adds “Even the minor roles have very good actors.” The tech rehearsal should be more painless as a consequence.

I ask them about props and Cat says “As a general rule, prop provision is usually the role of the SM.” She enjoys telling her bizarre stories of how she previously has had to deal with a prop rabbit that was too stuffed to fit into a top hat; how her recipe for fake blood is highly sought after; and how one of her highlights as a Stage Manager was, after having sourced the dagger and fake blood for a fight scene, it passed off so flawlessly on one night in particular that she heard an “Eurgh” from the audience.

“That is such an SM thing to say!” chimes in Oscar.  He goes on to explain how his personal highlight as a DSM was in his first production in the position, when all the sound and lighting cues of an especially difficult scene came together perfectly. “It’s the best feeling,” he says.

I asked is the position rewarding for them? “Of course,” Cat replies, “When the actors are all on stage and on fire, when it’s all coming together, you know that in some small way that’s because of you: even if it’s just that you kept the tech [rehearsal] really short and they got the necessary amount of sleep: you’ve contributed.” Oscar agrees: “When you see the lights go up, the sounds come on, it’s rewarding to think that the show’s happening because of you”.

Because of their experience stage managing, both admit a newfound appreciation for all aspects of a production when they are on the other side of the curtain in the audience. Cat attributes this to the role being so diverse that you get to try everything.

If anyone were interested in this part of theatre, Oscar advises people to “Make a start by assistant stage managing a show. Then you get to know people and people will naturally come to you to ask for your help.”

“Also, you don’t have to have been a DSM before you can become an SM” explains Cat. “They’re two different roles and it’s more a partnership than anything else. The only reason one is a deputy is to know whose fault it is when something goes wrong.”

Do things go wrong then? Rarely, it seems, when these two are at the helm.

Grief is showing at 7:45pm from Tuesday 26th to Saturday 30th April at the ADC Theatre.