The sound of a buzz interrupts the silence that lingers in the still air as the back door to Sims Educational Center unlocks. Tiah Guthrie opens the heavy door and is welcomed by the bright backstage lights. After being greeted by a few fellow cast members, she continues inside and pushes past the curtain that separates the seen from the unseen. Guthrie takes a few steps onto the black box stage so she can assume her spot in the audience. It is time for another rehearsal.
Behind the Curtain
Tiah Guthrie is a senior Communication student with a minor in Theatre who completed COMM 398 – Dramatic Practicum earlier this semester during ONU Theatre’s production of 1984. One of the many goals of a practicum is to “give students insight into the world of work and help them integrate into the work environment,” according to the article entitled “Assessing the practicum” from the Journal
Assessment & Evaluation in Higher Education. This dramatic practicum served as a training ground for development in Guthrie’s area of study.
Every spring semester, Professor Kelsie Davis, ONU Theatre Director, encourages students to apply for different supporting behind-the-scenes roles for the two main stage productions the following year.
After taking COMM 320 – Directing last semester, Guthrie felt her purpose shift from being onstage to being in the director’s chair, so when Professor Davis asked her to be 1984’s assistant stage manager, she happily accepted.
“I was at every rehearsal making sure the backstage moves smoothly. My job was to make the director’s life easier.”
Tiah guthrie
Assistant stage managers (ASMs) serve as an integral part of the team throughout the rehearsal process. Guthrie explained that she wore many hats during rehearsals, helping out in any way they needed. As an ASM, she had to be flexible and eager to help. According to an article from Stage Lync, written by an experienced stage manager, “Most of our work is done in human interactions and happens in the space between people. Being in the moment, our actions and decisions demonstrate our skills and acumen.” This sentiment rang true to Guthrie, as the bulk of ASM’s work is unseen.
Breaking Down the Rehearsal Timeline
April 23, 2025: Applications for production/technical positions for the ’25-’26 ONU Theatre season are due.
April 26: Guthrie is asked to be the Assistant Stage Manager for 1984.
August 28-30: 1984 auditions and callbacks are held. Guthrie was allowed to audition as well.
August 31: Cast list is sent out. Guthrie accepts the role of a swing for four different characters.
September 1: Rehearsals begin. There were rehearsals every Monday-Friday from 6-9pm.
October 2: Off-book night. This means all cast members are expected to know their lines, even if they are an understudy or a swing.
October 20: Tech week begins. This means full costumes, hair, makeup, microphones, lighting, and sound effects were fully implemented.
October 23: Opening night of 1984.
October 25: Closing night of 1984. Striking of the set, cleaning up of the space, and organization of props/materials occurs post-show.
Multitasking to the Max
Along with assuming the role of ASM, Guthrie was allowed to audition, claiming the role of swing for two different female ensemble tracks. A swing is someone who learns multiple parts in a production, memorizing their lines and blocking. In case one of the people in those roles is unable to perform for any reason, the swing will be able to step in at a moment’s notice and fill in seamlessly. During the final show, Guthrie actually had to go on, mid-show, for one of the characters.
She focused on balancing being both ASM and a swing in the show.
“There were a few times where I was like, I don’t know if I should be helping with transitions or if I should be writing down my blocking right now. I just had to learn to multitask well,” Guthrie said.
Though balancing ASM duties and performing as a swing is unconventional, the experience deepened Guthrie’s skill set for her Communication career. She used abilities that she learned in COMM 399, where she collaborated in weekly assigned tech roles for a mock production. While there was no actual show, the course strengthened her ability to plan, communicate, and work in a technical team, which are skills she was able to apply in 1984 through active participation in weekly production meetings.
Guthrie entered the practicum hoping to learn and she left it already applying what she knows. In the communication field, timing is everything, and she’s right on cue.
