Messages

1

Stage Management: Other / Re: Blocking Notation for Opera

« on: Nov 06, 2016, 11:03 am »

Ditto to what smejs just said.

On the opera that I'm working on now I just had a situation like that occur. Also there were some entrance cues I didn't actually give until the final room run because we didn't run two scenes back to back until then. During rehearsals I am constantly being chorus members, supers, or some times even principals (without the singing) because we only seem them for about 3 or 4 times a week. I'm always a fan of noting those moments in my score too.

2

Introductions / Re: Glad to have found an SM forum

« on: Jul 09, 2016, 12:08 pm »

Hello to a fellow Jerry! I don't come across too many of us

3

Stage Management: Plays & Musicals / Re: Joining a production as a replacement

« on: May 14, 2016, 01:54 pm »

I just recently had this experience as an ASM for an opera production of the Barber of Seville. I had worked on the show before (with another director on another set), so I was familiar with the music but was not familiar with anything else. Looking back, I was happy with how my work turned out. If the situation presents itself again however, I'd do some things the same, and definitely do some things differently.

I found that making a score in my style was probably the best choice I could have made, trying to call the show from the old assistants score would have been a challenge at best, and updating the paperwork would have proved next to impossible. Because of the timeline I was under (I was called in after the Final Room Run and before the first day of tech) I didn't have a chance to see any of the show, however I had a video which was "close enough", and very much regret making the choice not to watch it before we got to stage. I leaned heavily on the other ASM and the PSM during the load-in to pick up what nicknames the props had gotten (i.e the "purple note") which had made their way to my paperwork, and super heavily on my props crew (who I have a great working relationship with) to run the show for the first time, and man was that piano tech a doozy.

4

Stage Management: Other / Re: Stage managing Bach's St. Matthew Passion

« on: Feb 25, 2016, 09:59 pm »

If you want to go for the insert pages for blocking method, try finding a logical place to split the score between two binders (intermission, long scene change).

5

Tools of the Trade / Re: Stopwatch recommendations?

« on: Sep 16, 2015, 09:22 pm »

Similar to Maribeth mine doesn't beep, and it also has a tally counter (to make quick work of double checking large opera chorus scenes)

http://www.amazon.com/Sportline-480-Tough-Timer-Stopwatch/dp/B001KLPV9S/ref=sr_1_1?ie=UTF8&qid=1442452902&sr=8-1&keywords=stopwatch+sportline

6

Stage Management: Plays & Musicals / Re: Hairspray spray.

« on: Sep 04, 2015, 10:48 pm »

When I did Hairspray about 5 years ago (wow) we used a "professional haze" product by Fantasy FX (we found it at filmtools.com). Just give their website a search for Fantasy FX and it pops right up.

I actually have a can on my shelf above my desk and just gave it a quick shake and spray and it looks as great as I remember.

7

Stage Management: Plays & Musicals / Re: BLOCKING: Ensemble Blocking Taking Systems

« on: Jun 08, 2015, 11:22 pm »

Similar to Beatr79's system. I've both seen used and used the initials of ensemble (chorus, supers, what have you) members to take blocking. Doubling of initials tends to occur and is generally remedied by adding another letter to the pairing (ie NMa for Nate Mattingly and NMi for Nate Milson).

I also exclusively use a system of circled letters for principal actors. It is based off their character name as opposed to their actual name, with a similar system as above in case of doubling.

I then combine these on a full page minis (for chorus scenes) and smaller half page minis for principal only scenes.

8

The Green Room / Re: Superbowl Half-Time Stage Set-Up

« on: Feb 03, 2015, 09:06 pm »

Live Design Online also has several postings with various plots, breakdowns, designs from events not only including the latest super bowl.

Here is a link to the lx plot and credits from this year's halftime show: http://livedesignonline.com/super-bowl-xlix-2015-halftime-show/lighting-plots-and-credits-super-bowl-2015-halftime-show

But a cursory search on the site for any major event (Oscars, Tony Awards, ect.) will return results as well.

9

Tools of the Trade / Re: latest toys...

« on: Feb 02, 2015, 12:47 pm »

Now that I've adopted a clear clipboard, I'll never go back.

I keep whatever I'm working on on the clipboard, but a schedule or contact sheet goes at the bottom of the clipped papers so that I can always see it through the back. It's like having two clipboards in one!

And for those of you who work with music stand lights (operas and musicals, usually), check this out:
http://www.kliplite.com/Cordless%20KLIP-LITE.html
These cordless clip lights are awesome, and can even clip on the top of a clipboard. Now I can grab my stand and dash upstage without tripping over or tearing out wires (used to happen often...)

An alternative method to this I have adopted is to scotch tape a sheet protector to a regular clipboard. Cut off the white 3 hole part and tape three closed sides, and presto!

10

Tools of the Trade / Re: TOOLS: GaffGun

« on: Nov 23, 2014, 01:09 am »

Now, if it can fit any/all gaffee/spike tape sizes, then I would consider spending the $200 on it.

They sell a set of three different size adapters for $18, I haven't tried them so I can't speak to their effectiveness, but I can't imagine it being horrible.

http://www.gaffgun.com/collections/accessories/products/standard-tape-core-adapter

11

Tools of the Trade / Re: Books Books Books

« on: Oct 21, 2014, 09:41 pm »

The Backstage Guide to Stage Management by Thomas A. Kelly. Make sure you pick up the 3rd edition, it's the book that I was taught out of at school. There is an appendix at the back with great examples of paperwork to boot.

Also a second to SMMeade's nomination of the Backstage Handbook. I take book of these books with me to each gig.

12

Tools of the Trade / Re: TOOLS: Post It Tape

« on: Apr 13, 2014, 12:13 am »

I use this stuff to mark cuts in opera scores. It is a good combination of permanent and removable for me. Plus you can write on it like a post it note, which is always a plus

13

Tools of the Trade / Re: Camera Relay Software

« on: Dec 24, 2013, 04:31 pm »

Hi Jempage. I think the software you're thinking of is called CamTwist (http://camtwiststudio.com) but if it isn't it should be able to do what you described.

Hope this helps.

14

Students and Novice Stage Managers / Re: Unpaid Interns, Complicit Colleges

« on: Dec 24, 2013, 04:24 pm »

Here's a link to another article about internships at Sleep No More

http://www.ibtimes.com/former-sleep-no-more-interns-say-immersive-nyc-megahit-offers-little-educational-benefit-1499418

I also agree with maximillionx's teacher and it's something I wish my teachers pushed more, the concept of getting paid what you're worth. I'm in my last year at a conservatory training program and I think reaching for a paid position will be more beneficial in both the short and long run, for both money and experience. I don't want to arbitrarily limit myself to only internships because I'm "new".

15

Stage Management: Plays & Musicals / Re: PRE-PRODUCTION: Alternative to Taping Floors

« on: Sep 21, 2013, 11:19 pm »

Thanks everyone, after some convincing (and a quick test in the closet in the room), turns out we can just good ol' spike tape. I'll keep all these other options in mind for the future though!