Messages

1

Employment / Re: resume format

« on: Oct 27, 2011, 08:05 pm »

Thanks to PSMKay, my resume is now viewable in the resume database here on SMNetwork. I would like to continue receiving feedback on it so that I may enhance it and better sell myself as I apply for jobs. Feel free to respond via PM on here or to the email listed on my resume. Thank you!

2

Employment / Re: resume format

« on: Oct 26, 2011, 07:46 pm »

PSMKay,

Thanks for the info. I can't seem to find a way to email you my resume. The email on your resume didn't go through and the PM option here won't allow me to attach a file. How can I get it to you?

3

Employment / Re: resume format

« on: Oct 25, 2011, 06:55 pm »

Would love to get some feedback on my new resume format. I can't seem to access the resume database on this forum, some internal error. Feel free to move this post there if necessary, but I would love some feedback!

EDIT: Resume is now in the browser under Robert Mills. - PSMKay

4

College and Graduate Studies / Re: Compilation of grad schools

« on: Sep 25, 2011, 04:31 pm »

saerie,
That is a great list, thank you. I'm not sure if Grad School is my calling (I've been off anf on about it for 5 years), but that list is a great place to start and provides a really good snapshot of what's offered and where.

5

Tools of the Trade / Virtual Stage Manager

« on: May 18, 2009, 12:43 pm »

So, I saw that there was an existing post about this and was hoping to add to it; however, it has been locked due to the fact it was originally posted as an ad.

I am currently working on a production set to open this summer and the production company has purchased and is using the Virtual Stage Manager (VSM) for all of their summer performances (4 shows). I was wondering if anyone else is using or has used this online software to help manage a production. I have my thoughts and feelings about VSM and am just interested to hear what others think about it.

Is this something we can talk about without advertising for anything else. I'm not currently interested in purchasing or downloading something new - just looking to open a discussion with other SMs that have used or looked into using VSM. What are your thoughts? How did you overcome some of the missing functions (or so I think they are missing)?

Please keep this discussion on the topic of VSM and how you worked with and/or around it. Thanks for your input.

6

Tools of the Trade / Recordings of West Side Story

« on: May 16, 2009, 08:40 pm »

Evening All!

I am currently working on a production of West Side Story set to take the stage this summer in Las Vegas, NV. One of the leads in the show has asked if there are any audio recordings of West Side that he can use to immerse himself in. This is his first experience with West Side and is looking for any help in obtaining the proper dialect of 1950's New York. He does have the OBCR and is looking for anything else that may exist.

I know that when you produce Thoroughly Modern Millie, you can obtain a pronounciation CD from MTI for the Chinese dialect. Just looking to see if anyone knows of anything similar or that may be useful for my cast member.

7

Students and Novice Stage Managers / Re: MFA program at UC Irvine

« on: Mar 25, 2009, 01:13 pm »

Definitely don't bank on being accepted to the program yet!

I was in the same position 2 years ago. Was invited out to the school, put up in a hotel, interviewed, toured, and even invited to some swanky gatherings by the department head.

UCI was the only grad-school I applied to. After sending an interest email before graduating from my under grad in 2006 and then taking a year off, UCI called and asked if I was still interested. I was, so I applied and went for the interview. It seemed like I had it. In my first meeting I was informed that I was 1 of 4 finalists. I thought that was pretty good for not having an impressive background. Anyhow, by the time I left the school I felt that I would be receiving an acceptance letter the next month. Instead I was not accepted. Not sure why, but it must have been the right thing. As much as I would like to know why I wasn't accepted, I never bothered to ask - just kept moving on in life.

What did catch me up while I was there on the student led tours, was how they referred to all of their performance spaces. Each space was referrerd to as "crappy". Now I know that most of us want bigger and better, but they seemed to have little to no pride in their performance spaces. It bothered me. Not saying that I wouldn't apply again because the structure of the program does appear to be exactly what I'm looking for; I would hope that their self respect has improved over the past 2 years.

I know I made a short response long.  But just be sure it is right for you. UCI showed me both the positive and the negative at the same time. Don't bank on anything, and make sure you see the whole picture before you decide anything.

Since not being accepted into UCI, I have gone on to SM for a new community theatre in Denver and now for a well established community theatre company in Las Vegas. I think all that happened was good, right for me, and happened for a reason.

8

Students and Novice Stage Managers / Re: Notating a Dance Sequence

« on: Aug 24, 2007, 06:19 pm »

On the shows that I have worked, I notate most of the dances just as if they were blocking using terminology that i will understand and remember. And if I have to explain it to anyone it usually works, if not I'll do my best to demonstrate it. YAY! for humility.

I do take my time (and usually a spare sheet of paper inserted into my script) when writing down the moves in a dance break. Since there are no words here it is more important to have a good description of the moves for cueing purposes.

9

Stage Management: Plays & Musicals / Re: Calling a warning for a cue

« on: Aug 03, 2007, 04:25 pm »

I only use warnings when there has been a long period without any cues. I SMed HurlyBurly recently and there was one act where literally nothing happened for 20+ pages. So I used a warning to get the attention of my board ops back to the show and ready for the s/b and GO. Both my sound and light board ops would watch movies or do homework during the 3 hour production. This was fine with me as they never missed a cue.

I also had a professor tell of a time where his SM used a warning because he had such a long break between cues that he would actually nap. So the warning was a wake up call to be followed by the s/b and GO.

In general I don't use them except in those circumstances. I prefer standbys with enough time to get everything said but not so long that it seems like an eternity of waiting.

10

Tools of the Trade / Re: Spike Tape on Marley Floors

« on: Aug 03, 2007, 03:54 pm »

I have always used electrical tape on Marley and it has worked well. It was recommended to me that I not use spike tape as it can damage the floor.

What kind of marks does your tape leave? I know that after taping out, the floor under the tape is protected from wear and usually looks cleaner when the tape is removed.

You most likely aren't pulling color out, just keeping it in under the tape.

11

Students and Novice Stage Managers / Re: Bows

« on: Aug 03, 2007, 03:31 pm »

I disagree with the comments about the audience understanding the gesture. I think that most theatre goers understand that they are applauding the orchestra when the cast gestures towards the pit and that they are applauding the crew when the cast gestures towards the booth.

I am not in favor of the crew taking a formal bow. (I don't know how many actually are in support of this. We chose a backstage job - partly for the fact we don't have to be seen.)

And as far as the gesture to the crew, I have seen it done on many performances - community, regional, and professional - on all show nights, not just closing night or special occasions.

With regards to the integrity of the show, the show is over at this point. Second, all shows will continue to grow a little once the director has left. This gesture can be apart of this growth as the cast begins to appreciate the crew more and more. The small action does not take away from the directors vision. It is not our job to overpolice the cast and inhibit them from making the show as best as possible.

And lastly, the magic of the theatre is very powerful. Whether you just watch from a distance or live it everyday, it can still amaze and overtake you. But you must also remember that the magic is really only meant to work during the show. The curtain call is not the characters bowing, it is the cast that is bowing. The show is over and the magic is finished for that performance. It will linger with you as you wonder how things were done, but this is the point for recognition. If it suits your fancy - you can consider the gesture to the booth a gesture to the magic of theatre (which is usually created by the crew).

Just some food for thought.

12

Students and Novice Stage Managers / Re: Bows

« on: Jul 19, 2007, 06:48 pm »

In observing many professional theatre companies in the US, it is acceptable and occurs often for the cast to recognize the SM/crew by gesturing and applauding in the direction of the SM. In a musical, this is the last recognition, preceeded by the cast gesture and applause to the orchestra/band if it exists. As to who decides this... I'm sure that some directors place it in the curtain call, while there are also casts that just do it because they know how much the show depends on the SM/crew.

It appears to be done less often in straight theatre. But it does happen and is not considered faux-paux. Also under the same circumstances as a musical as to who decides it's going to be done. In the last play that I worked on, the cast did not gesture towards the booth until the final performance. That night the gestured and applauded to the work of me and my assistant (the only crew). This motion was not originally placed by the director, but added by the cast.

No matter who decides to put this action in (or to not), the SM usually doesn't have a say in it. If you are asked, that is one thing, but it would be impolite for the SM to ask the cast/director for a gesture and applause in your direction. Likewise, it could be seen as rude and not in full support of the show/cast/crew/director/designers/etc... if you asked for them to NOT gesture and applaud your work. In general, as an SM an applause/public recognition is not guaranteed nor the reason we do this job. If it is offered, it should be accepted with grace and dignity for we all know how much work we put into a show. But by all means, make sure your name is in the program - that is the minimal amount of recognition we deserve and usually have no problem accepting. If you feel like the simple gesture and applause is too much, learn to deal with it - would you rather the cast pull you on stage and take an actual bow in front of a full house?

Lastly, I just saw a production of Cirge du Soliel's Corteo in which the entire cast and musicians came on stage and performed their bows. Then at the same moment all turned inwards (the show was on a circular stage and performed in the round) and applauded the crew as they ran in 2 lines (one from SL to SR and the other from Sr to SL) giving each other high fives. Not a bad way for the cast and audience to quickly recognize the crew that flawlessly (hopefully) operated an extremely technical production. (I assume that this move was definitely created by the director.)

13

Stage Management: Plays & Musicals / Re: quick cleanup of raw egg?

« on: Jun 12, 2007, 09:20 pm »

I too worked on this show a few years ago, and the egging is one of the funnest on stage moments to work with. Like Jessie_K, we too placed the intermission shortly after the egging. This allowed the cast plenty of time to clean up (shower and all). As for the stage, the egging was staged on a pre-dirtied rug and we had two of them. In the shift after the egging, the crew swapped out the dirty rug for the look-a-like.

Of course, the floor was mopped before and after each show and the costume washed each night. Once the dirty rug was offstage, the crew spent most of the second act scrubbing out the egg so as to not have a rotting carpet. As a part of the preset, the look-a-like was stored offstage awaiting the switch and the eggy rug placed on stage again. this way we only had one eggy carpet.

It worked well for our production and I hope you can find a good solution to make yours a success as well.

14

Stage Management: Plays & Musicals / Re: Weapons on Stage - Safety and Legality

« on: Apr 10, 2007, 11:19 pm »

With the way the knife is used in the show, I am confident that the safety of anyone in the theater will not be an issue. Thanks for all the ideas to make the show safe, but with the size of our space (very small) pre-rigged fabric would look and sound like pre-rigged fabric.

My concern is how to deal with the law (which says no) and the director (who says yes). I have already asked the theater for secure storage. When do I just say no, or step out of the situation? Are there any other knife options?

I'm trying to abide by the law, and keep the director as happy as possible.

15

Stage Management: Plays & Musicals / PROPS: Weapons on Stage - Safety and Legality

« on: Apr 10, 2007, 06:44 pm »

HELP!!!

I am currently SMing a show that involves the use of a knife. Unlike many prop knives, this one has the needs to be real and sharp enough to cut. It is used to stab a table, picture, and fabric. The knife that my director would like is one that can be operated using one hand, such as a switchblade.

I have done my research and discovered that "any knife that has a blade which is forcefully projected from the handle by means of a spring-loaded device or explosive charge...[and] any knife that has a blade released from the handle or sheath thereof by the force of gravity or the application of centrifugal force, that when released is locked in place by means of a button, spring, lever, or other device...[and] any knife [where] the blade of which opens automatically by hand pressure applied to a button, spring, or other device in its handle" are illegal within the entire state. Simple posession of a knife like those described constitute a claas 5 felony or class 1 misdemeanor based on the exact knife in posession.

Both myself and the Artistic Director have concerns with placing an illegal weapon on stage. However, the director is very persistent about this knife and doesn't like the fact that we are concerned with this issue. As the SM for the production, what can (or should) I do with this issue? My utmost concern is for safety, followed by the legality of the issue.

Any help is greatly appreciated. I'm even open to any other knife ideas that could be used to satisfy the directors wish and not bring a possible criminal charge. Please HELP!!!