It's been a busy few months for Christopher Kee Anaya-Gorman, who was the stage manager for last season's long-gestating Barry Manilow-Bruce Sussman musical Harmony.

Following the closure of the new musical, Anaya-Gorman, who grew up on the Navajo reservation, spent a few months working on the national tour of MJ the Musical before heading to Massachusetts' Williamstown Theatre Festival, where he was the production coordinator and stage manager for Rachel Bloom's Death, Let Me Do My Show, which was also filmed for Netflix.

Anaya-Gorman's Broadway stage management credits also include The Gin Game, Paradise Square, Jagged Little Pill, the 2023 revival of Camelot, and a five-month replacement stint in the Tony-winning Hadestown. He has also worked Off-Broadway and regionally for Arizona Theatre Company, Goodspeed Musicals, Shakespeare Theatre Company, Atlantic Theater Company, and Roundabout Theatre Company.

In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Anaya-Gorman shares why he gifts a financial book to his production assistants and why stage managers should always carry snacks.

Where/how did you train to become a stage manager?
Christopher Kee Anaya-Gorman: I received my BFA in Stage Management from the University of Arizona (go Wildcats!). It was an excellent program to learn within, and that’s been more evident as I met younger stage managers coming out of school and discussing their programs. At the U of A, I worked alongside MFA students as an undergrad on main stage productions with full performance schedules, understudy rehearsals, automation, fly rail, traps, etc., all in conjunction with our coursework.

Was there a teacher or a person who was particularly impactful? What made this person stand out?
I am immensely grateful to several individuals for shaping, guiding, believing in, and mentoring me, even if they didn’t know it. Those are (in no particular order) Holly Burnell, Samantha Wyer, Jill Cordle, James FitzSimmons, Wade Dooley, Ira Mont, Lee Micklin, McKenzie Murphy, Jennifer Rogers, Karyn Meek, and my family. A special thank you to Laura Noonan, my fourth grade teacher, who introduced her classroom to musical theatre; if not for her, I wouldn’t be here today. Teachers are amazing!

Can you detail the nightly duties of a stage manager?
The duties of a stage manager per performance can vary. They begin when I enter the stage door and greet our stage door person. Often, I check in with them on anything unique to that day's events and check for mail. Once in the SM [stage manager] office, I first create and distribute our In/Out (this informs everyone of who is on for what role/track). If stuffers are needed, I work with the second [assistant stage manager] on those and the slider board. Next, I will check in with crew heads about any deck notes from the previous show that need attention. The PSM [production stage manager] will probably check in on specific items, but we’ll convene in the office and share what we learn during our rounds.

While the crew prepares for the show, I am often in the SM office catching up on admin items like weekly schedule drafting or proofing, submitting accident reports, updating payroll, and cleaning up SM files. I built a database with Airtable that I’ve used on my previous two shows, which streamlined the team workflow. I love it! Once the cast arrives at the theatre, I’ll run lift or fight calls, check presets, and open the house. I will run the deck or call the show once the performance starts. Depending on other variables, I may be at an off-site rehearsal or get an office day. Post-show, the team will input or share any notes with the PSM and generate a show report.

What were the particular challenges of being a stage manager for Harmony?
Harmony moved to Broadway from Off-Broadway, and with that came changes to the set, costumes, casting, etc. Much of the Off-Broadway staging around these elements remained the same. You then have to blend it all. I quickly learned about challenges downtown and thought ahead about what could prevent them for us. My first stop was overhauling the script format. It ended up being one of the best things for the show. My next step was understanding that Off-Broadway and Broadway function differently backstage because of the unions involved on Broadway. There were things I learned while in rehearsal that I knew needed further thought to achieve in a Broadway house. Therefore, tracking and communicating these were critical. The last thing I’ll say is that being the new person to a show with substantial history can always be a challenge. You’re working alongside folks with insights and nuanced knowledge you don’t have. It’s wise to learn these as best you can.

On the other hand, it's a delicate balance to offer alternative ways to look at or come at things when folks have been looking at them one way for so long. Harmony had wonderful people who believed in the show, the process, and its success, which made many of these challenges easier to collaborate on.

Can you share a little about working on Rachel Bloom's solo show, Death, Let Me Do My Show, which is now headed for a Netflix debut?
The project had two goals: the stage version and the Netflix version. Williamstown hosted the stage version, and Rotten Science helmed the Netflix/film side. My challenge was focusing on the stage needs before we thought too far ahead about the filming needs. However, I sometimes had to calculate one against the other to see the big picture. Thankfully, I had done some film work during the pandemic, which allowed me to see each side's needs and goals. It was also handy to have the vocabulary of each side so I could bridge the conversations. Some days, I called out go and hold, while other days, I called out action and cut.

Can you share a favorite memory of working as the first assistant stage manager for Camelot?
The SM office was home to “snack-o-lot.” Hadestown taught me the value of having snacks around for the company on long days, and since our show was long, it was pretty valuable on Camelot! The SM team lovingly called the office “The Bottom of the Hill,” a line from the show itself. I purchased a neon light that spelled this out, and we hung it in the office. It truly elevated the space, and everyone loved it! People came to our office to relax, congregate, chat, or get something from “snack-o-lot.” These interactions were some of my favorite times with the people you see 40-plus hours a week.

What made you decide to become a stage manager? Was there a particular production or performance that influenced your decision?
I was a computer engineering student when I went to college. After a semester in that, I was depressed and failing. A long chat with my mother led me to the theatre program, where I sought to be an actor. When that didn’t quite work out, Carrie Cole, a professor, told me “to just get in the room” and suggested I study stage management. I marched to the production manager’s office and said, “Hi, I’m Chris, and I want to be a stage manager and work on [your next] show.” I had no idea what a stage manager was, what they did, or their function in the theatrical ecosystem. 

My first production was The Who’s Tommy, where I worked under Holly Burnell. She showed me the balance between hard work and joy for the job—something you can’t learn in a classroom. I am forever grateful to her and that experience. It set me on the path to a successful career.

What do you wish you knew starting out that you know now?
All things financial planning, conscious spending, retirement, unemployment, 1099 versus W2 work, and health insurance. I recall being handed new-hire paperwork at my first job out of college, which included insurance and retirement options. I never had insurance, let alone what the numbers and letters in 403(b) meant. These weren’t items I was taught growing up or in college. At the time, I only saw money taken from an already small paycheck. I had no one to talk to about these “adult” items, so I ignored these sheets of paper. Over time, I picked up books and researched keywords online. I soon looked at the big picture of my life and wanted not to live paycheck to paycheck. It took time, debt, mistakes, and mental space, but today I am financially conscious and stable. I now gift production assistants on my shows with a financial book so they learn good money habits early.

What advice would you give your younger self or anyone starting out?
Listen to learn. Those who listen to learn will better understand what is needed to move forward and resolve.

Network! Send that email. Say hi to that person on the street or when the opportunity presents itself. If you don’t, someone else will.

What is your proudest achievement as a stage manager?
There are several projects that I am proud of. They are like dots along my journey. My first theatrical job out of college put me next to people I looked up to, and I was with them! Landing my first Broadway show (The Gin Game) was unbelievable, especially since I didn’t seek it out. Then, I got my equity card and that first full-time SM contract and took over a chaotic show as the PSM. If I had to pinpoint a moment I held pride in myself, it was when I made my final student loan payment during the shutdown. I remember thinking all those payments came from work as a stage manager in this industry, despite the volatility of the job market.

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Photos: Opening Night of Harmony

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