Messages

1

Stage Management: Plays & Musicals / CALLING: Stop The Show!

« on: May 22, 2006, 06:38 pm »

I had an experience in January where I had to stop the show not once, but twice.  Once when a lady in our 90-seat, incredibly intimate black box had a stroke in the first act and then again when the light board failed and we had only one lamp to provide light on a set that included a very steep staircase.

In both instances, I let the crew on headset know we needed to stop, then used the god-mic to ask the actors to get offstage and ask the audience to clear the house (so the EMTs could get through) or stay in their seats until we had lights.

Has anyone else had these kinds of situations?  What makes you decide whether you need to stop the show or find some way to keep the show going?  What's the first thing you do when you decide the show needs to stop?

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Employment / stage management college degrees

« on: May 04, 2006, 02:06 am »

my undergrad program didn't even have a class in stage management, let alone a stage management emphasis or focus.  I ended up focusing in performance because I originally wanted to be an actress.  But I fell in love with stage managing and since we're in the same union anyway, I felt that emphasizing in performance rather than technical theatre was just fine.

Since I learned stage management by trial and error and watching professional SMs, I wanted to see what a classroom could offer (and I also wanted to be able to teach some day).  So I'm currently working on getting my Masters in Stage Management.

I agree that a piece of paper doesn't make you the best stage manager in the world.  But in my opinion, neither does experience.  There are some things in stage management that you simply can't be taught - either in textbooks or by doing.  It takes a certain flare to be a truly FANTASTIC knock-em-dead stage manager.  And so, I think people should just recognize that they have the talent and follow whatever route of training appeals to them.  Both classroom and OTJ approaches to stage management have something to offer.

I am noticing more and more that job postings are asking for MFAs.  I'm not sure how I feel about this - I mean, it's great for me, but you don't need an MFA to be a great stage manager.  It's not like being a doctor or a lawyer with a set number of things you need to learn.  But, on the flipside, there are plenty of people I know who would NOT hire someone with an MFA on their resume because they assume those people are arrogant and not as hard-working.  And I've actually seen SMs with their MFAs who are EXACTLY that.  But I've met plenty of arrogant and lazy SMs who didn't go to grad school.  So, whatever

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College and Graduate Studies / Anyone been to U/RTA's?

« on: Apr 17, 2006, 06:22 pm »

I went through U/RTAs two years ago.  It's an interesting experience.  Like Matthew said, you do your interviews in hotel rooms, which is a little weird.  

So... the U/RTA process...

Bascially you put together a "common packet" which consists of your URTA app, resume, examples of paperwork, sometimes essays about what you want to get out of grad school, etc.  You send each of these common packets out to the schools you want to go to.  Then you call each of the schools to make sure they received your packet and find out if they want anything else from you.  So in a sense it's like showing your portfolio, only through the mail and less specific.
Then, URTA lets you know which schools you have interviews for and what time the interviews are.  What frustrated me about this is that I wasn't told until about 2 weeks before the interview dates.  So, I was glad I wasn't buying a plane ticket to Chicago with only 2 weeks notice - I was driving.  
The SM interviews I had were basically the head of the SM department explaining what their school's program is like and then asking a few questions.  Some of them ask to see your prompt book, but they don't spend much time on it.  Some ask to see your resume again, so it's good to bring extra copies.  Some of the questions are about stage management theory (which I enjoy more) and some are very practical (what would you do in this situation).
I did get into an URTA school.  I'd say what helped me get in was persistence (I applied the year prior when they were only accepting 1 student and chose to apply to my school again rather than accepting anythingelse), and bringing in questions of my own about the program or stage management.  I ended up having a sort of mini-seminar with the head of my department at my interview.  I asked him a sort of what would you advise your students to do in this situation question that I wanted an honest opinion on and that sparked a good conversation.  So, persistence and drive, I think.

4

Students and Novice Stage Managers / Cardstock pros and cons

« on: Mar 29, 2006, 03:24 pm »

I use slightly heavy paper and I actually have it printed on a beige color.  The glare from white paper hurts my eyes sometimes.

5

College and Graduate Studies / grad schools

« on: Mar 27, 2006, 11:31 pm »

ditto on the above advice.  I'm at UC, Irvine.  If you want to know more about my school, I'd be happy to chat.  theatrechick2000@yahoo.com

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Students and Novice Stage Managers / Be quiet!

« on: Mar 21, 2006, 06:36 pm »

I think lecturing people on their inability to keep quiet is a bit extreme.  Sometimes people simply don't realize that their volume is climbing.

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The Hardline / What is the difference between working under Equity and not?

« on: Jan 20, 2006, 04:12 pm »

Basically, once you join Equity you cannot (with a few exceptions) work under any contract that is non-Equity.  While having your Equity card opens some new doors (regional theatres, Broadway, etc.), it definitely closes some.  That is why most people advise getting plenty of ASM and SM experience before you get your card - you're competing against people who've been stage managing for decades and have worked with the big producers, directors, etc.

As far as the "perks" of a non-Equity theatre... I don't really know what they would be.  In Equity, you have an opportunity for overtime, you have certain rules that specifically state what you CANNOT be forced to do (payroll, ordering food for the cast, etc.), and if you work often enough you get health benefits.  I don't know of non-Eq theatres that pay particularly higher than an Equity theatre of the same scale...  Maybe someone else knows what the perks of non-Eq theatre might be...

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SMNetwork Archives / The Holiday Season -- what are you working on?

« on: Dec 05, 2005, 08:31 pm »

This year it's The Nutcracker for me, for the first time.  I'm also about to go in for load-in.  This time last year, I'd been doing Plaid Tidings for a month already and didn't close for another month.  That was a lot of Christmas, lemme tell ya!  I'm lookin forward to 15 more days of Nutcracker, though.

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SMNetwork Archives / Ballet ASM question

« on: Nov 01, 2005, 11:31 am »

BalletPSM, thank you!  This is incredibly helpful for me, as I just signed on to co-SM The Nutcracker.  I've never done a dance show before (I originally told them I'd rather ASM to learn the ropes...) so I'm nervous about it.  Reading this really helped me get a grip on some of the responsibilities I'll have; sounds similar to theatre, thank God!

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Stage Management: Plays & Musicals / Your book Left or right?

« on: Oct 30, 2005, 12:06 pm »

When I'm ASMing, I choose to make my book like the PSMs, even if I'm not comfortable with the set up at first.  Primarily, this is because I'm always up for new ideas.  I don't want to get stagnant and set in my ways; I think you have to be highly flexible in this job.  And so, a book that might look confusing to me at first could easily become my preferred method for a particular theatre genre.  For example, the way you arrange a book for a musical (room for the score, blocking large chorus scenes, gigantic scene shifts, large numbers of cues) is/can be entirely different from a new play (with new pages added often, cuts, etc).  

When I'm SMing, I let my ASMs decide what makes them most comfortable.  It's easier if the book looks the same, but so long as it's the same pagination, I don't care.  Plus, you might learn something from looking at their books.  The duties of ASMs and SMs vary.  When I ASM for example, I write all the props that should be onstage at the top of the script, because I'm the one that has to preset them and track their movments.  It seems easier to me to just glance at the top of the page for what's coming up, especially when there are a LOT of props (Thank you, Plaid Tidings).  But when I SM, I'm happy to just look at a plot and my notes.  I'm not the one getting up from the table to handoff a prop, usually.

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Stage Management: Plays & Musicals / Your book Left or right?

« on: Oct 28, 2005, 10:50 pm »

I have, in the past, had the text (usually resized to allow for ample margins) on the right hand side.  On the reverse side of each page, I have the ground plan on the top (in musicals I have 2 ground plans side by side) and numbers at the bottom.  

When I take blocking, I write a number above the word at which the action happens and then write the movement on the line that corresponds to the number.  When I put cues in, they usually go on the right-hand side of the text page, since the rings get in the way.

I might change this for an upcoming production and see if I like the text on the left.  Considering that I am right handed and the rings do sometimes get in the way when I take blocking on the left, I wonder if I'd like it better if it was set up like Matthew's.

Also, I always use the same book throughout the production because often cues are called on a movement rather than a word.  Since actors can sometimes forget their lines I prefer to be able to refer to the blocking.  If I decide to call from the score, I usually insert it in my book just before or after the page that I need to call the cue from and I write a reminder to myself in the script.

Interesting discussion.  I think it proves there's no right or wrong way to put your book together; just whatever makes life easiest for you for that production.

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SMNetwork Archives / A question of loyalty

« on: Oct 21, 2005, 01:56 pm »

I think you're absolutely right.  As SMs we generally refuse to let the ball drop.  We're the responsible ones, the ones who make things happen.  None of us want to open a show that's not ready and so we do go that extra mile to make sure it is ready.  We're problem solvers.

But sometimes, perhaps we should let the theatre solve its own problems rather than stepping up to the plate.  The fact that you were in this situation 3 times in a row is incredible!  How could this theatre not have learned that ASMs were absolutely necessary?  Ah, because you were doing your job: making the show run smoothly.  It's a tough position to be in...

Maybe we should step in for the current project, but refuse to accept a second without the problem being fixed.  Hopefully the next stage manager they hire will do the same.  I think we teach people how to treat us, so let's train them to respect us in our positions.

What a great topic!

13

Stage Management: Plays & Musicals / INTERNATIONAL: British Stage Managers

« on: Oct 20, 2005, 02:22 am »

I am planning on applying for a grant to go to England during the summer of 2006 and compare the role of the American stage manager to the British stage manager.  It would be helpful for me to meet some British stage managers and possibly shadow them for a performance.  Also, I am looking for any stage management conferences, workshops, or seminars that I could attend while abroad.  Any information on these opportunities or ideas of ways to search for them would be much appreciated.

14

Stage Management: Plays & Musicals / Call backs

« on: Sep 17, 2005, 04:48 pm »

In my experience, if you're at callbacks it's only to make sure things are organized.  You hand out the scripts, keep track of who's read with whom, etc.

Unless my opinion is solicited, I never suggest casting options.  The only case where I'd say anything is if you notice someone's listed a conflict that will make it difficult for him/her to attend all rehearsals.  There are directors that love to have your input, especially if they're new or know you've worked with the actors before, but there are those who want to cast their show the way they want it, regardless of other's advice or opinions.  Hopefully, you're working with a director who's open to your opinion, but I'd make damn sure that's the case before I said anything.

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Stage Management: Plays & Musicals / musicals

« on: Aug 26, 2005, 01:38 am »

I usually keep the score in with my book, even if I don't anticipate having to call from it.  I take notes during music rehearsals of who's singing which part in case the music director doesn't remember/write it down.  Also any changes in lyrics, cuts, anything like that.  I know a lot of (student) SMs who don't feel it's necessary to be at music rehearsals and therefore do not pay attention (ok, so even some of the pros I've worked with don't) but I've saved some butts a few times keeping track of everything.

Also, give yourself plenty of marginal space to write cues.  Musicals tend to be very cue-heavy in comparison to straight plays.  Keep some Riccola or other throat losenges around for the actors and plenty of fresh water, especially during dance rehearsals.  Make sure you talk about breaks with your director (assuming this is not Equity) and keep some chairs with nice back support around for music rehearsals.  Keep an extension cord for a radio and some new batteries and cassette tapes close by for actors who want to record their parts but forget to bring back-ups.

If you have a separate music director, choreographer, and director, meet with each of them separately to discuss their expectations during their rehearsal time.  Every director/choreographer wants their time managed in different ways, so find out their preferences for warm-ups, how they want to you notify them when they only have 5 minutes left, etc.  Also, discuss dance captains with the choreographer  - do they expect to choose one from the cast or will someone else (a dance student, say) be the captain?  Make sure you get copies of the choreography, but don't sweat taking it down in blocking form too much.  Of course, you need to know who goes where when and who's partnered with whom, but if you get choreography notes, you won't need to notate "2 plies, step, ball, change," and the like.  

I advise having 2 ASMs with musicals- there's so much for you to pay attention to and so many times you'll need gophers, especially if you have dance rehearsals, music rehearsals, and blocking rehearsals going on at the same time.

Which musical are you doing?  Good luck!