I have been a stage manager on quite a few community theater shows, and yes, the stage manager's job can be a little boring early on in the rehersal process. The things that I generally did as a stage manager during rehersals are:

- Recording blocking
- Calling actors who are late or do not show for a rehersal
- Setting up the rehersal space
- Collecting "rehersal props" and making sure they are set and struck during rehersal.
- Calling lines when the actors are off book
- Contacting actors when the director makes a change in the rerhesal schedule.

If you want to get her move involved you might want to think about making her a combination stage mananger/assistant director. In this role she would do everything listed above, but would also have some creative input on the show.

Dan

I have a stage manager that I have worked with so long that we can read each other's minds. Often I just look at her and she will fix whatever is wrong. She keeps track of everything. She even knows what I did with my car keys. I would be lost without her. At the beginning of the rehearsal process she takes notes and watches. She is quiet, and to an untrained eye she doesn't seem to be doing much of anything. She gets to know the play from her perspective as well as mine. She isn't worried about the actor's motivation. She is figuring out how do a scene change, a costume change and  get the actor out on stage in 8 bars of music.  She makes notes about each of the actors and learns their little quirks and habits. Her notes are copious and detailed and would rival the strategic planning of a five star general going into battle. In all the time I have worked with her she has never raised her voice or looked out of control. She has the trust and respect of everyone in the theater. If you are fortunate enough to find a good stage manager hold on to them. I agree, it would be a close call between my stage manager and my kids.

L.

I love to stage manage, and I've finally got to the point where I love to direct.  Although I don't get many opportunities to stage manage anymore, I actually train stage managers.

Pre-Production:  

character/scene breakdown (they've got to know what is going down)

complete tech breakdown (things that are obvious in the script--like actor puts cigarette lighter in jacket pocket would mean costumes would need to make sure pocket in jacket and props would need a cigarette lighter; also they would make a note to the producer or TD about possibly needing a fire permit for smoking on stage.  Do we need cigarettes?);

prep auditions (character descriptions, play synopsis, supplies, posting notices at school)--I check all work they do since I'm just training them.

run auditions (I usually use 2 or 3 stage managers--an upper classmen who's worked at least one show already as PSM and 1 or 2 assistants.  During auditions, I have them alternate being in the room with me and evaluating the auditionees and running the audition waiting room.)

prep for first rehearsal (contact all designers if we have them, organize getting a model, sketch, or at least a floorplan, organizing the scripts [although we sometimes distribute them before first rehearsal], contact forms, costume measurement forms, bio forms--you get the idea, goodies).

Run first rehearsal--I establish their authority by allowing them to get the cast members quiet and explain how we are going to proceed.  They then start with paperwork, establish ground rules, etc.  Then they introduce me, and we start with the creative end of it.  I am always there backing them up, and when the cast is less than cooperative quietly offering advice so the stage manager can take control.  (THIS IS VERY IMPORTANT IF YOU DON'T WANT TO HAVE SOLVE EVERY TINY PROBLEM IN THE CAST, and cast morale is a stage manager's job--not the director's primarily).

During rehearsals:  take blocking down, prompt lines (and sometimes blocking), set up rehearsal furniture and props, make prelimnary shift change sheets and prop set-up lists, take line notes and blocking notes when off book, be available to the cast when they have problems (especially since high schoolers don't usually confide in teachers), maintain the stage manager's kit (the magic box full of anything and everything you may need to keep a rehearsal running smoothly), run second rehearsals in an area close to the main stage (usually the foyer of our gym), report to me about any genuine problems in the cast and crew, the givers of permission to leave the rehearsal hall to go to the bathroom, the lockers, their cars, for food (because after all, they know how soon the actors will have to be back on stage).  One thing I never let them do:  assign a punishment.  They can notify me that a punishment is needed, but they should not be put in the position of being the ultimate "bad guy" with their friends.  This policy also prevents some less-than-desirable stage managers from bullying your cast (and I hate to say I've had a few of those, too).

Tech rehearsals: 

Experienced--I let them run the entire rehearsal.

Inexperienced--I run the rehearsal and gradually bring them to the point where they can run the last dress/tech without my assistance.

They also write all cues in their prompt books, not just where they are, but what they do also.  The prompt book will become a piece of history at the end of the show, so it needs this information in it.  They call the cues and manage the crews.  They are in charge of the show.

Because this is a high school, I don't hand the creative reigns over to them.  However, I have given them some information on this part of the job and that as they grow more mature and experienced in the job they may be responsible to perform this function.

Two things they should do every day of rehearsal and performance are write the reports and do a journal entry in the log.  Get the book by Ionazzio on stage management for more specific details.

Again, depending on experience, they either run the strike or learn how to run the strike.  They help me create a strike plan, and they are ultimately responsible to make sure every item is put back into storage correctly before everyone goes home.  I try to keep my stage managers supervising instead of actually performing in the strike.  They should be kept moving at all times.

Post-show, I have them write a report about what they learned, what worked, what didn't, and how to prevent any problems in the future.  They turn this report in with their prompt books.  I photocopy the prompt book and return it to them if they are planning on pursuing a theatrical career.  If not, I just take the prompt book and archive it.  The essays have really led to some improvements over the years.