[Bob Womack]

I work with this sort of thing fairly regularly and do it within the framework of network TV production. There are some lessons to be learned from this framework. First off, we use multiple non-performing people (techs and production people) to pull off the smooth operation. Basically, other than your P.A. operator, you need a stage manager, a stage tech, and the program producer. As others have mentioned, we don't leave anything to the last minute and we do get lists o fequipment needs, often in the form of riders.

The stage manager and the program producer work together, with the producer handling the long-range (strategic) decisions and the stage manager handling the short-range (tactical) decisions. The producer is free to leave the stage area to go scout-up a missing act or get on the phone and call for any additional things that are needed. He can also flit from stage to FOH to communicate as needed and be responsible for liaison with the venue or house. He funnels the acts to the stage as their performance time approaches, making sure there isn't a gap in the supply of acts but there aren't too many people in the vicinity of the stage causing confusion. At the stage, the stage manager is responsible for getting the acts on and off, maintaining the schedule, and communicating changes with FOH and stage tech. The stage tech provides and sets-up the mics, chairs, monitors, and power needed for each act and does so while protecting the P.A. operator by coordinating with him so that he always knows what mic or line input is flowing up what line to his console. You'll want a routing system so that there isn't a bunch of switching between channels.

Communications between the production crew can be a real pain. We've tried everything from Intercoms to Instant Messaging to cell phones and have found that once the music starts, it is hard to communicate due to the noise and hard to break through to the FOH P.A. position. Between acts it can be hard to communicate because people can be so busy that they are distracted from the communication devices. The four factors that contribute the best to success are:
1. Planning
2. Rehearsal of the transitions
3. A well-defined authority structure in the team
4. Empowerment of the individuals to "own" their jobs and make decisions within their own sphere without undue "horning-in"

Plan everything, then expect the plans to either change or fall through. Do a rehearsal. Failing that, do a walk-through of the changes. Failing that, at least do a verbal walk-through while reading from the night's run-down so that your team can trouble-shoot the transitions. Be open to suggested adjustments from your team members. Have an authority structure that everyone understands. The authority should flow from producer, who is understood to "own" the show, to stage manager, to FOH P.A. operator and tech. There will have to be a certain amount of triangulation between the stage tech, who really is responsible to the FOH operator, and the stage manager, who is physically closest to the stage tech. Unless you have ironclad communication between your posts, you can't isolate the stage tech from the stage manager and make him only responsible to the FOH. Things come up and the stage manager needs the tech to be able to adjust first and explain later. With cooperation and an understanding of submission, the stage manager or producer also have the ability to serve as an assistant to the tech and help him hustle the needed stuff on and off the stage. Here is where cooperation really helps. As long as everyone takes care of the FOH's needs, it works.

Those are the basics. There can be flexibility (the stage manager can be the producer and he can have an assistant handle getting the acts to him) and there is scalability (there can be whole crews for each of the named positions for a large gig, or functions can be combined for a smaller gig) but these are the basic functions that need to be filled.

Have fun putting it together!

Bob