Interview: SISTER ACT: BEHIND THE HABIT with Craig A. Horness

Today is the last installment of out weeklong series Sister Act: Behind The Habit. I hope you have enjoyed learning about how Ford's Theatre's production of Sister Act comes to life on and offstage eight times a week. So far, we have met three of the cast and the show’s musical director. Today we are going up over the mezzanine to the stage manager’s booth to meet Ford’s Theatre’s longtime Production Stage Manager (PSM) Craig A. Horness.

Those of us in the know are aware that the PSM is arguably the most important job on any production for many reasons. Nothing happens during a performance until the PSM says GO!!

For twenty years Craig has helmed some of Ford’s Theatre’s most challenging and iconic productions. A few of his many Ford’s credits include Liberty Smith, A Christmas Carol (also assistant director), Little Shop of Horrors (twice), The Civil War and Meet John Doe.

Other credits include 25 seasons at Broadway Sacramento/Music Circus, and productions at North Shore Music Theatre, Theatre Under The Stars, Portland Opera and New York City Opera.

Craig A. Horness is one of the many reasons you all need to see Ford’s Theatre’s production of Sister Act. His tight calling of the production keeps the show looking flawless which is why audiences have such a greast reaction from watching it. His work is literally “Fabulous Baby!”

Sister Act at Ford’s Theatre runs through May 17th

Had you been working in the theatre in another capacity before becoming a Production Stage Manager?
Yes—I graduated with a BFA in Performance (Musical Theatre emphasis) and a BA in Secondary Education (Speech and Theatre emphasis). However, I quickly realized I was better suited for backstage work rather than being in the spotlight.

Where did you receive your training?
I trained at Tarkio College in Missouri, however, four stage managers that were pivotal in my career were Kevin Harvey, Pat Hodge, Bob Bones, and Peggy Imbrie.

What was your first professional job in the theatre?
In the summer of 1988, I worked at the Post Playhouse in Fort Robinson, Nebraska, where I served as the stage manager for five rotating shows. I also had the opportunity to direct Cinderella as part of that season.

The general public often doesn’t know what a Production Stage Manager does. How do you describe your role?
A Production Stage Manager (PSM) is essentially the glue that holds a production together. We are responsible for coordinating and managing every aspect of a show from pre-production to final performance. We act as the central point of communication between the director, cast, crew and Production Team. Our job is to ensure everything runs smoothly, consistently and safely.
Here are 3 basic stages of what we, as stage managers, do:

Pre-production: Schedule rehearsals, prepare scripts, set up the rehearsal space, organize paperwork and coordinate all elements with the director, design team and staff.

Rehearsals: Take detailed notes, track blocking (actor movement), and communicate changes or needs to departments like costumes, props, sets, sound and lighting.

Tech & Performances: Call cues for lights, sound, and scene changes; oversee backstage operations; and ensure each performance is executed as rehearsed (maintaining the artistic vision of the show).

If the director is the creative brain of a production, the stage manager is its operational heart.

Every production has its challenges. What has been the biggest challenge for you and your amazing ASM, Taryn Friend, on Sister Act?
One of our biggest challenges was working with a smaller cast and crew than is traditionally used for Sister Act. This made seamless scene changes more difficult. Thankfully, Taryn is phenomenal at managing backstage operations—her skills and knowledge were instrumental in making everything run smoothly.

At Ford’s Theatre, you begin A Christmas Carol each year as the Assistant Director and later move into the PSM role. Is that common or is this a unique situation?
It’s a bit of both. I’ve served as the Associate Director for A Christmas Carol ever since Michael Baron moved to Oklahoma after our first year producing it. Since I worked closely with Michael in shaping the original version, it made sense for me to continue remounting his vision. Some companies rely on the PSM to remount shows, while others use in-house Associate Directors. So, while it’s not unusual, it’s definitely a special situation in our case.

You’ve been the PSM at Ford’s Theatre for many years. What keeps you coming back?
I’ve been fortunate to work in an environment where I’m supported from the top down. Paul Tetreault and Kristin Fox are outstanding producers who provide the resources and trust needed to succeed. Being a part of this historic theatre for the past 20 years has been an honor — one I truly value.

After Sister Act concludes its run in mid-May, what’s next for you in 2025 and into 2026?
This will be the first summer in 25 years — excluding the pandemic — that I won’t be stage managing at Broadway at Music Circus in Sacramento. Instead, I’ll be traveling with my husband, Mario, and focusing on my real estate career with Compass Realty. In the fall, I’ll return to help remount A Christmas Carol, and next spring, I’ll be stage managing 1776 at Ford’s Theatre.

Special thanks to Ford's Theatre's heavenly Associate Director of Communications and Marketing Sam Zein for her assistance in coordinating this interview

Sister Act Logo designed by Gary Erskine.