Legally Blonde
Assistant Stage Manager
Production Stage Manager: Sara Segneri
Director: Cris Carole | Music Director: Cody Michael Bradley
Choreography: Tanji Harper
Loyola University Chicago | Newhart Family Theatre
About Legally Blonde
Elle Woods has it all figured out- great friends, great car, great dog. When it all starts falling apart, Elle leaves behind her sunny sorority for the stuffy Harvard Law School, tackling this exclusive environment with optimism and ambition. The verdict? An inspiring and wildly entertaining take on identity and power. Based on the hit movie and filled with show-stopping songs, Legally Blonde celebrates the trials and victories of being yourself.
Photo Credit: Joe Mazza
Photo Credit: Joe Mazza
Photo Credit: Joe Mazza
Photo Credit: Joe Mazza
Props & Furniture
With nearly 150 props and furniture pieces, identifying adequate backstage storage presented a significant challenge. We determined that the backstage crossover offered the most practical and efficient solution, allowing us to place two large prop tables in a centralized, accessible location. The props were carefully organized in chronological order of the production, with Act I props positioned on the left and Act II props on the right.
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For furniture storage, we utilized the scene shop and freight elevator to house pieces used exclusively in a single act. These items were exchanged during intermission and after the performance, ensuring smooth transitions and efficient use of space throughout the run.
After consulting with several deck crew members regarding my Run Sheet, I learned that they felt empowered to assist in problem-solving across multiple aspects of the production. Because they were not assigned exclusively to one side of the stage, they developed a broader understanding of how the show operated and what was happening backstage at all times. I created individualized tracks for each crew member that were substantial enough to be engaging while remaining clear and manageable.
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In addition to this advance planning and organization, I took detailed notes during each performance and continuously refined the Run Sheet, allowing the show to run more smoothly and efficiently each night. To implement these updates effectively, I held daily meetings with the deck crew to communicate changes, maintain clarity, and check in as a team before each performance.
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Reflecting on my Run Sheet from Orange Julius, I see significant growth in my ability to create detailed, organized, and effective production paperwork.
Run Sheet
Spike Tracking
Due to the large number of furniture pieces and scenic locations in the production, we determined that creating a Spike Map was the most effective way to track onstage placements throughout the show. To further encourage deck crew engagement and ownership, crew members took the lead in completing this document as we worked through technical rehearsals. This approach increased their familiarity with the staging and reinforced accountability.
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The Spike Map proved particularly valuable for conducting spike checks, allowing us to efficiently verify before each performance that all spike marks were correctly placed and intact.