Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - brdwayluver

Pages: [1]
1
Does anyone have Fat Pig by Neil Labute?  It would be greatly appreciated.  tsilve2@gmail.com

Thanks,

Tessa

2
Stage Management: Plays & Musicals / Re: SHOWS: Ragtime! Advice
« on: Jan 13, 2011, 01:25 am »
I Set Design/TD a production a few years ago.  The biggest issue I had was the car.  I ended up finding a golf course that loaned me an electric golf cart for the run.  We built the car around he golf cart but couldn't attach anything to the golf cart (condition from the golf course) it turned out pretty awesome, I was very happy. 
I agree that this is also a prop heavy show.  It really depends on the designer/directors vision, but there are a lot of different locations in the show so it becomes a task making sure all of the locations are clearly depicted. I got a chance to see the recent revival in DC before it moved to NY.  I loved the framed set pieces concept.  It worked great!

3
Agreed with the above comments--double check with the director, and shrink what you can.

It sounds from your first post that the whole set is a staircase--if that is the case, and if a lot of action happens on the staircase, make sure that you have height/depth information ready for the first blocking rehearsals so that the actors have a sense of how much room they have on each step & how high they are stepping each time. 
I have had numerous actors ignore the taped out staircase and then get completely thrown off once the set is built, and that can affect timing/Qs.  Shame on them for ignoring the tape, but it's helpful to be able to say early on "remember you just stepped US onto the 3rd step which is 1.5' off the deck"--tends to help them realize what will eventually exist in the room before it's there.

I alway make sure I remind the actors about where the steps are and to make sure they are taking  each step as they walk the stairs.  Never hurts to give a friendly reminder.  When I did Noises Off it was imperative that the actors hit every single step for timing purposes.

4
I usually tape it out so that as much of the set is represented in the taping as possible.  Then I make sure the director knows where the taping is different from the set. i.e. "you have 10 more feet here"  Get the taping as close as you possibly can in the space you have.

5
I am looking for a e-script of Once Upon a Mattress, the original version.  Its the show I am doing with the high schoolers I am working with.  Email to tsilve2@gmail.com. 

Thanks,

Tessa

6
The Green Room / Re: Suffering from what I call "theatredox"
« on: Jan 05, 2011, 12:22 am »
Going through it right now, unfortunately this time I was actually sick :(  Usually I clean.  My household life tends to acquire a lot of things while I am working on a show.  I clean off my desk, clean my house, try and see my friends and go do something active not theater related.  You need to take the opportunity to reboot your brain and little.

7
By the end of my time in college my friends would joke with me that I was the stage manager of the department.  Our department was really close and we did a lot of things together.  I always seemed to be the one making sure everyone was with us or was doing ok at parties (probably because I knew I needed them in for the next evening's performance  ;)) I still continue to do it now and my friends now will yell at me saying "you are not the stage manager right now, relax!"

8
I wanted to be a stage manager since high school.  I went to college specializing in stage manager.  Once I graduated I decided to not be a stage manager, took a year off and now just stage manage a community theater production here and there.

9
Noises Off! x2 (I could call that show for years)
The Diary of Anne Frank x2 (2 different versions)

Pages: [1]
riotous