Messages

1

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Honesty about running a show?

« on: Apr 05, 2013, 08:36 pm »

As a stage manager that almost never takes blocking (archival blocking at least) and never gives performer notes, I find this thread very interesting. The vast majority of the productions I work on have an AD present throughout the run who assumes these responsibilities.

Here's how I define my responsibilities during a production (copy and pasted from my current SM handbook)

Stage Manager Responsibilities:

-Perform those duties that are the industry standard for the position
-Run all rehearsals
-Call all performances
-Create and maintain the deck running
-Create and maintain the rail running
-Create and maintain the A/V & sound running
-Create, maintain and distribute the principal artist/staff phone lists
-Create and maintain the spot cue sheets, if necessary
-Create maintain and distribute minis (for blocking, and running paperwork)
-Procure lighting paperwork for SM archive
-Create and distribute the, "Train Schedule," for all technical rehearsals
-Create master cue sheet, if necessary
-Communicate number a dress rehearsal passes for Supers, Light Walkers and Stage Management to Production Clerk
-Create, maintain and distribute Master Production/Music Schedule
-Create show overview schedules
-Create and distribute daily schedules
-Fifteen seconds timings in score (Can be re-assigned to ASM) [This one's a little particular to opera]
-Measure ground plans (Can be re-assigned to ASM)
-Communicate with FOH for start and intermission times
-Create and maintain timing sheets
-Create and distribute onstage tech requests
-Create and distribute rehearsal notes
-Create and distribute performance reports
-Create and distribute dressing room assignments
-Set up archive book with tabs that match the file folder names in our computer show files
-Other duties as assigned [The always-ominous clause]

I find that these responsibilities alone are more than enough to keep me busy throughout the course of a production. My ASMs' lists of responsibilities are even longer (as the handbook was really written for them), but some of the highlights are:

-Create, maintain and distribute the prop running
-Create, maintain and distribute the wardrobe running
-Create, maintain and distribute the spike map
-Create, maintain and distribute the flame plot
-Create, maintain and distribute the prop inventory/source sheets
-Walk roles for room and stage rehearsals as needed
-Hospitality set-up and maintenance (Coffee, tea, etc.)
-Reset scenes as necessary during rehearsals
-Sign-in sheets

Once a show moves from the rehearsal period and into performances, the work load definitely seems to lighten up by a significant amount, but I always kind of feel it's my reward for the grueling hours spent getting a show up on its feet.

If your in a position where you have very light performance responsibilities, I say enjoy it  .

2

Stage Management: Other / Re: 15 vs 30 second timings

« on: May 29, 2009, 12:22 pm »

I think 15 second timings are more precise . . . I wouldn't necessarily say 30 second timings are "normal". 

I put a red check mark where the timing took place and the actual time in the margin.

I've seen this method used a lot by opera SMs, however I prefer to note the timings in the system where they actually occur between the bass and treble clef lines. This keeps me from having to look away from the music to check the timing when following the score.

I used to identify the systems in which a timing was notated with a check mark in the side margin. This made them easier to locate, but since highliting seems to be pretty standard practice I've abandoned this method as a waste of time.

Either way I always favor 15sec. timings over 30, but that's strictly out of personal taste.

3

Students and Novice Stage Managers / Re: Definition of Production Stage Manager

« on: Jul 12, 2008, 06:52 pm »

The term "Production stage manager" often refers to the stage manager who is responsible for overseeing the entire stage management department for a company. Companies who work in rep, or have a lot of shows in a season will usually hire more than one stage manager and several ASMs and divide the shows between them (seperate stage management "teams".....if you will).  All stage managers (calling and assistants) will usually report to the production stage manager even though PSM may not be directly involved in thier particular production.

4

Stage Management: Other / Re: Opera Greenie

« on: Jan 06, 2008, 06:17 pm »

To quote myself..............

There are a few key differences that need to be taken into account when SMing an opera. (Please disregard of the following information that you are already aware of.)

First and foremost, performers do not take their own entrances. They must be cued by an ASM. This usually requires 2 ASMs for a production (one SL one SR.) They must also be paged to the stage from their dressing rooms. I believe the standard is 5min before their entrance for principals, 10min for chorus and supers. (super= supernumerary, a non-singing, non-speaking actor in an opera.)

An absolutely vital tool you will need to implement is timing intervals in your score. These can be done in either 15sec or 30sec increments throughout each act. These increments become vital when paging performers, organizing quick-changes, and planning scene shifts. (Usually these increments will not vary more than 5secs from run to run depending on the experience of the maestro). They can either be taken off of a recording of the opera, or during the first run (a more accurate way to go about it.)

There is also some paperwork that will be required that I don't think is standard in musical theatre such as the WWW (Who, what, where). This is a sequential listing of ALL entrances and exits in the show along with the corresponding page/system/measure of where they occur in the score, and is usually complete with prop notes as well as quick-change information (who, time alloted, etc.) Feel free to pm me for an example.

Also, remember that supertitles are their own department in opera and will need to be included in the rehearsal reports. (It may take a little practice to recognize situations that would effect these such as: dialogue changes, certain blocking arrangements, and some prop changes.)

When dealing with such a large cast, I HIGHLY recommend you implement sign-in sheets for chorus, supers and dancers. This will make attendance tracking a payroll a breeze. Name tags are also a good idea as trying to record blocking without them can be a NIGHTMARE!!!! I usually use different color name badges depending on if the performer is a super, dancer, or chorus member. Often I will also add the vocal register of the chorus member to the name tag, or the role of the super (i.e guard or priest)

Many companies will also supply you with an AD, who serves as a vital part of the stage management team by taking all blocking notation and staging cover rehearsals. This frees the PSM up to focus on running the rehearsals, and allows the ASMs to focus on calling entrance cues, dealing with rehearsal costumes/props, and standing in for missing performers (you will most-likely have a good amount of principal staging rehearsals that do not include the supers/chorus/dancers, and the ASMs are usually responsible for walking the blocking for those characters the principals interact with).

Sometimes you even get a scheduling department too :-D.

................Feel free to PM me with any other questions you may have. I often find myself at the other end of the spectrum (I know my opera, but it's been a LONG time sine I've done theatre).

5

Employment / Resume Question

« on: Dec 17, 2007, 03:21 pm »

Hello fellow stage managers. I have a question concerning my resume which I would greatly appreciate your opinions on. Due to the fact that most of the resumes I send out these days are through email, my email address is currently in the form of a hyperlink and was wondering if this is indeed a good idea. Is this a help or hinderence to those who do the hiring?

Thanks,
Liam

6

Stage Management: Other / Re: My first opera! The Magic Flute

« on: Mar 31, 2007, 02:05 pm »

There are a few key differences that need to be taken into account when SMing an opera. (Please disregaurd of the following information that you are already aware of.)

First and foremost, performers do not take their own entrances. They must be cued by an ASM. This usually requires 2 ASMs for a production (one SL one SR.) They must also be paged to the stage from their dressing rooms. I believe the standard is 5min before their entrance for principals, 10min for chorus and supers. (super= supernumerary, a non-singing, non-speaking actor in an opera.)

An absolutely vital tool you will need to impliment is timing intervals in your score. These can be done in either 15sec or 30sec incriments throughout each act. These incriments become vital when paging performers, organizing quick-changes, and planning scene shifts. (Usually these incriments will not vary more than 5secs from run to run depending on the experience of the maestro). They can either be taken off of a recording of the opera, or during the first run (a more accurate way to go about it.)

There is also some paperwork that will be required that I don't think is standard in musical theatre such as the WWW (Who, what, where). This is a sequencial listing of ALL entrances and exits in the show along with the corresponding page/system/measure of where they occur in the score, and is usually complete with prop notes as well as quick-change information (who, time alloted, etc.) Feel free to pm me for an example.

Also, remember that supertitles are their own department in opera and will need to be included in the rehearsal reports. (It may take a little practice to recognize situations that would effect these such as: dialogue changes, certain blocking arrangements, and some prop changes.)

Hope this was helpful, and good luck :-)!

7

Students and Novice Stage Managers / School or work?

« on: Feb 28, 2007, 12:30 am »

Hello everyone,
I need some advice.........I graduated, a little over a year ago from a small, community, art college with an A.A and an A.S degree in stage management (both 2yr. degrees).  Since that time I have begun working professionally instead of transferring to a university in order to get the B.F.A.  By now I have already started building my professional network as well as a pretty strong resume.  I've been thinking about returning to school in order to obtain the B.F.A in stage management, however I was wondering how vital this degree actuallty is. So far I haven't had much trouble finding work without it (knock on wood). I am still pretty young, and I realize that it would be far easier to put my career on hold now than it will be further down the line. I've put off making this decision for far too long now.  The deadline for most college theatre programs is rapidly approaching and I can't decide whether to focus my energy more on finding work for next fall, or applying to colleges.  Are there any advantages to having a 4-year degree? Or do employers focus more on professional experience? I have already spoken about this with a couple of "hardened veterans," and have recieved mixed responses. I feel the more opinions I have on the subject the better off I am in making the best decision. There are also financial considerations that come into play with going back to school. (It's nice to be getting paid for my work instead of paying someone else.) Any advice anyone would have to offer on this subject would be greatly appreciated.

Thanks,
Liam

8

Tools of the Trade / Re: What is Gaffer Tape?

« on: Feb 25, 2007, 09:25 pm »

I really have nothing of value to add to this conversation............I just can't stress my undying love for gaff tape enough :-D. (It's the most wonderful creation man has ever come up with.)

9

Tools of the Trade / Re: Computer Clock built with AEA Breaks in mind

« on: Feb 25, 2007, 09:20 pm »

Oh well.  Yet another reason to get a PC I guess.   

^
NEVER!!!!!!!!

10

The Green Room / Re: Things You'll Never Hear a Stage Manager Say

« on: Feb 25, 2007, 08:36 pm »

"No fast food for me, thank you.  I only eat organic, all natural foods."

11

Employment / International Stage Management

« on: Feb 08, 2007, 10:49 pm »

Hello everyone,
I was wondering if anyone knew anything about stage managing in other countries such as Ireland or the UK. I'm kind of new to stage managing in a professional setting, but have heard of SMs traveling abroad to work in cities such as London or Paris.

How would one go about applying for a job in another country?

Do oversees companies frequently hire foriegn stage managers, or do they mainly try to draw from their own pool?

Does the role of a stage manager differ in anyway from country to country?

What kind of work visas/ customs requirements/ tax headaches are there associated with working abroad?

Any information anyone may have would be greatly appreciated.

-Liam

12

Stage Management: Plays & Musicals / Re: Dealing with stress

« on: Feb 02, 2007, 11:41 pm »

(Dog..........and Primus.......it helps :-) )

13

Stage Management: Plays & Musicals / Re: A Chorus Line

« on: Feb 02, 2007, 11:33 pm »

A Chorus Line is simple.......technically speaking.  However That is a poor excuse for high schools and community theaters to so commonly produce the piece.  What it lacks in props/set/lighting requirements, it more than makes up for in the fact that to do it correctly requires EXTREMELY talented actors, as well as an amazing choreographer and stage director.  Though from a SM position (after doing Noises Off)........it would be nice to do something like A Chorus Line.

Note from Moderator:  Edited for language

14

Stage Management: Plays & Musicals / Re: I need everyones opinon...

« on: Feb 02, 2007, 11:14 pm »

Backstage is probably a good idea...........as long as you have clearcom headsets (never trust wireless, single-channel and all).  If you decide to go with the house though, it can be done; it just requires a little creativity. I've SM'd shows before, in blackbox setting, where there was no room for a backstage area.  It was intresting..........required a series of hand cues, flashcards, actual cue lights, and flahlights, to communicate between board operators and performers. Kind of fun now that I think back on it.  Either way is feasible.  It really just depends on which way you feel more comfortable (and how much you can trust your ASM's :-)....).  Good luck with whatever you decide.

15

Stage Management: Other / Re: Opera Rehearsal Reports

« on: Feb 02, 2007, 10:18 pm »

Hello,
I'm sort of new to opera myself, but it seems that the extra catagories you would want to include on the rehearsal reports, as opposed to straight theater, would be:

Music
Supertitles (takes a little practice to recognize situations this would effect)
Publicity
EXTREMELY DETAILED TIMINGS
and always- Wigs as well as makeup

aside from that I've been using the usual catagories of: Lighting, Scenery, Props, Late performers, Material covered, etc. and no one in the company has complained so far..........Good luck, opera is definatly intresting.