Stage Management

Reno Little Theater -- March 2026

Written by Sarah Treem, Directed by Moira Bengochea

Role: Assistant Stage Manager

This production is still in progress. More information will be available soon! Please take a look at my other portfolio entries listed below.

I am currently working with the Stage Manager, Director, and Assistant Director on preproduction tasks, including prop tracking, entrance and exit tracking, costume plots, and general communications.

Good Luck Macbeth Theatre Co. -- April & May 2025

Written by Nicholus Hulstine, Directed by Paige Tatum

Role: Stage Manager

This project presented all of the unique challenges that come along with staging a new work. As a company, we worked directly with the playwright to shape the way characters were portrayed in the narrative to closely fit the lived experiences of our actors and production team. As could be expected, this brought along many script changes. Along with all of my other duties, as the Stage Manager, I tracked script changes and released change sheets and new scripts to cast and crew when they were provided by the playwright. I had never worked with a changing script before, so this project was a fun way to get into the workflow and communication challenges that come along with this type of environment.

University of Nevada, Reno - October 2024

Written by Moises Kaufman and the Tectonic Theatre Project

Directed by Bill Ware

Role: Stage Manager

This project presented new challenges in my stage management journey through its prop/costume complexity and its staging in thrust. The production featured over 100 props and costumes, which originated onstage and were utilized by actors throughout the course of the show. This presented a unique documentation and process challenge to ensure that the preset was completed quickly and accurately each night, as well as adjustments during intermission. Blocking and understudy documentation proved to be a challenge with this production as well. The director had elected to have internal understudies for each character rather than an external understudy. This required blocking notation for each character rather than each actor, so that understudy tracks could be distributed to each actor.