Stage Presence from Head to Toe: a Manual for Musicians.

Stage Presence from Head to Toe: A Manual for Musicians, by Karen Hagberg. The Scarecrow Press (4501 Forbes Blvd., Ste. 200, Lanham, MD 20706), 2003. 108 pp. $24.95.

Karen Hagberg's Stage Presence from Head to Toe is a comprehensive 108-page manual covering all aspects of stage presence for performing musicians. The first seven chapters cover details for soloists, page turners, small ensembles, large vocal ensembles, orchestra members and conductors. The final five chapters discuss the day of the concert, stage set-up, nonperforming personnel, auditions and competitions and how to teach stage presence. As is clear from these topics, the manual gives specific directions for different type of performers and, thus, is a handy reference for all musicians.

Concert attire is discussed in detail with suggestions for dressing so audiences are not unduly distracted. For example, cellists are cautioned to be careful no bare skin shows above their socks; long-legged pianists may find they must wear low-heeled shoes to comfortably pedal; and orchestral musicians are instructed to avoid certain fabrics such as velvet or satin that stand out under stage lights. Soloists are reminded to think about how audiences seated above them in balconies, and seated below them, will view their apparel when performing and bowing. While it's easy to take performance attire for granted, both amateur and professional musicians will find many useful suggestions specific to their situation.

Enhancing the written prose, numerous hand-drawn illustrations depicting poor stage presence appear throughout the book. The single distracted chorus member and inattentive page turner are clearly shown from the audience perspective. Of particular interest to instrumental conductors, illustrations depict how to hold one's instrument in standing, full rest, semi rest and ready positions.

Seven checklists appear periodically throughout the manual with compelling topics, such as "Performers, Avoid Doing These Things on Stage" and "Ways to Keep Judges from Eliminating You." Again, the suggestions are specific and serve to remind performers of what they know but may not always observe, or help provide new insights into handling various performance venues.

In addition to being a guide for soloists, the book is useful for beginning conductors of small ensembles, large vocal ensembles and orchestras. Directions are given for how a large ensemble should enter on stage. Protocol is clarified for tuning, concert master and conductor walking on stage, and acknowledging soloists at the conclusion of a concert. In summary, the book serves as a helpful reference guide for teachers, beginning performers and conductors, as well as a reminder of performance etiquette for seasoned professionals. Reviewed by Barbara Fast, Norman, Oklahoma.