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Messages - geoffsm

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1
Talk to the director about how he/she plans to divide the show (for rehearsal/staging purposes).  Very often when I've worked on shows with no "scenes," the director has requested french scenes.  In that case, you can work with them to divide up the beats (and label them numerically or alphabetically) and do your paperwork that way.

2

I second this. The only thing is, you must maintain a steady beat or else it becomes a disaster.

Agreed.  It was for this reason that, when I had to call from the deck (off right, out of necessity)-I rigged an infrared camera and monitor so I you see the conductor.

3
The Green Room / Re: Summer projects
« on: Jun 27, 2010, 06:51 pm »
I have been in rehearsals 10 hours a day since mid-may.  I'm PSMing my second season with this theater.  We run 4 musicals in rep all summer.  Just opened the 3rd and now we are in rehearsals for the 4th. 

4
When I'm doing line notes I don't send it out if it's a one-off - my general rule is that the actor needs to have done it twice before I'll tell them.  If it's a one-off then it could just as easily been a slip-up rather than having learnt it incorrectly.

I tend to lean that way, too.  If something is consistently incorrect, I go beyond line notes and give the correction verbally after the run, because I'm always afraid that the actor has/will learn(ed) it wrong.


5
Did the joking stop?  No, it actually escalated.  Stage Manager came down harder, they responded more.  It did eventually bleed out and effect the show.

It's a fine line to walk.

Agreed.  I find that although a brief lecture is not likely to be effective, at least you can say that you said it.  A lot depends on the relationship you have with your cast from the get go.  If they respect you and the show, they are less likely to screw it up for the sake of a joke.

It the problem escalates (and I hate even threatening this, although I have had to (for other reasons) in the past)-If you get the director/producer/managing director on board, you can institute a fine system (it can help keep non Equity folks in line).  But I really wouldn't suggest this unless problems persist because it is a sure fire way to build resentment. 
A fine line, indeed.

6
He is in the booth at the back of the house

Does he/she have legs?  If the act hadn't started and there was a problem major enough to cause a hold, they should have been there helping you out. Like others I'm having trouble understanding why the SM held if they didn't think the problem warranted it.  And like I said, if they were that concerned about it, they should have investigated the problem themselves-But that's my 2 cents.

In any case, I think you made the right decision.  I would have held (like Tempest_Gypsy) probably for as long as Ten before coming up with a "jerry-rig) solution.  In the grand scheme of theater problems, an 8 minutes hold isn't really a huge deal.  Much worse things have happened in much bigger houses.  I also agree that the SM chastising you afterward was ineffective. If their intent was to educate you for future experiences, they should have communicated why they thought you acted incorrectly rather than just telling you what they would have done.

7
Although I'm unsure of the specific politics and bureaucracies at play in your theater, I say that it's really your decision.  You know where you will be most comfortable and where you can call the show most successfully.

8
The Green Room / Re: show us your booth!
« on: Mar 12, 2010, 11:54 pm »
Aw! Wish I had snapped a picture of the set-up I had on the last show I did.  I called from the deck so I had a platform that set me 3 ft off the deck with a stool (although I mostly stood) and a giant map table with room for my book, q sheets, and a monitor with video feed to the conductor.  There was a lower shelf that housed the intercom console. Set me above the top of the scenery so I could see the deck and I was right beside the fly rail, so it made communication during tech rehearsals easy.  It was pretty sharp if I do say so myself. 

9
I've only done one dance show, but I can offer some insight.  I was lucky enough to have a few weeks of rehearsal in which to learn the dancers and the movement.  I called from a score, but noted the movement in the music and used notes for cue placement.  I also had a sketchbook with me at rehearsal which I used to sketch out movement patterns, etc. (similar to how a lighting designer would notate actor/dancer placement for cue building.

10
I find it more useful in to have one book with nothing but script/score and another book with contact sheets, calendars, schedules, production grid, breakdowns, etc.

Agreed.  Especially if the script/score is a lengthy one.  But when I do condense into only one book, the script is always in the front.

And to reiterate a previous comment-always do what is best for you, the show, and the company. 

11
I agree with everything that's already been said.  Basically, all you can do is keep sending emails and say information out loud as much as possible.  It never hurts to verbally reinforce what is distributed in writing.  I generally recite schedules at every opportunity just to solidify and make sure everyone understands.

12
I love using a google cal for rehearsal schedules, that way the whole cast can check it and it can be updated without using new stacks of paper every time.

I'm using Google Calendar for the season that I start in May.  It's nice because the artistic director, TD, and myself are authorized to make changes, whereas the actors and rest of the staff can view everything once they are invited.  Of course, I'm still generating separate schedules for the actors, just so that I can include more detail and make things a bit clearer, but the online calendar gives everybody an instant overview for convenience.  It also helps that I can sync it to my blackberry relatively easily, as can anyone else in the company with smart phones, etc.   

13
The Green Room / Re: How do you "play?"
« on: Mar 10, 2010, 01:40 am »
I lock myself in my room with headphones and a good book.  It's a nice contrast to the constant hustle bustle of the theater world.

14
The Green Room / Re: Best showing of appreciation from a cast?
« on: Mar 10, 2010, 01:36 am »
I've gotten everything from hugs and compliments to offers to pick me up food when I can't get out and even the occasional bottle of booze on closing night.  To me, there is nothing more satisfying than hearing an actor say that the process was smooth and stress-free or to say that I helped to make them feel comfortable in any way.  It's why I do what I do, so to me that's worth more than gifts.

15
Thanks guys.. great ideas. Geoff can you elaborate on your system though. For example, for "SR2", how do I get the depth (wing) as well as the width of the mark?
ps. All trucks with be moved either by IA or automation

As far as depth (distance US/DS) most pieces were in line with legs, or we could take measurements from the scrim (which was in a fixed position throughout the show).  Width wasn't an issue for us because we used either the real piece, or a rehearsal piece that was within a few inches.  This system worked well (I think) only because the actors were doing all of the movement, so scenery movement became part of their blocking/choreography and therefore it made sense to gauge furniture placement off of similar marks that the directors/choreographer were using.  Of course, pieces were also corner spiked, if necessar, for the benefit of the lighting designer, or if something needed to be placed at a specific angle.  The whole thing was kind of a rudimentary grid system which may/may not work in other settings.  The choice to work this way was more of a necessity rather than an ideal, but it seemed to function relatively smoothly in the end and the actors appreciated its simplicity.
Looking back, had we not had so many of the pieces so early on, this would have been very difficult.

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