Messages

1

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

« on: Mar 23, 2007, 03:40 pm »

"No, I don't need a my own script.  Of course, I don't mind sharing yours during rehearsal."

---Yes, I had an opera director really expect this.  I never did get a proper copy:  He gave the one purchased for me to a designer who'd spilled soda on hers.

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Students and Novice Stage Managers / Re: help with "real" stage management

« on: Feb 06, 2007, 10:01 am »

I actually enjoy Stage Management: the Professional Experience, by Larry Fazio. I've used Thomas Kelley's book and started reading Stern's.  They all have very distinct feels to them and unique perspectives on what aspects are most important in stage management. 

I would not reccomend Daniel A. Ionazzi's Stage Management Handbook.  It is very affordable, but emphasizes things that are not relevent in most college level, community, or regional theaters unless you are bringing in a traveling show (at least based on my experiences).


I had read Fazio's book and worked on my forms before begging to ASM a show.  I was able to get a spot with the musical theatre department's spring production and was thrilled.  Then the Friday before music rehearsals started the SM had to leave the production.  I became the SM and spent the next two months learning what it took to control three casts and get them to rehearsals ontime and ready to work.  It all turned out very well.  Even if you don't have a chance to work through STAGE MANAGER: THE PROFESSIONAL EXPERIENCE completely, it is fun to read sections and stories from and can be very helpful (especially when you feel like nothing is going right).  Just my two cents worth.

~musicalssm

3

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

« on: Dec 23, 2006, 12:12 am »

I don't know if they have made it to your area yet, cha-cha, but the mini-retractable sharpies are everywhere in Oklahoma.  I can find them at Wal-Mart or Staples.  I love those things.  I need to scrape together money to go buy more.  I don't have enough colors yet.  Speaking of which, I need to get one of those massive 20 color packs to replace all the ones I lost over the last 5 shows.  Can never have too many of those, and some various colors of chalk, and vis-a-vis.....*sigh*  I miss my office supplies kit being maxed out.  I've come to find too many more things to add to it.  Ah, the days when I thought I'd covered everything.   Well, at least this gives me more excuse to go shopping at Staples (the only office supply store in town, outside of the college bookstores).

4

SMNetwork Archives / Re: Drinking Games

« on: Dec 12, 2006, 03:37 pm »

I should definitely keep these in mind.   They are a lot more universal than the show by show games I've come up with (like a drink everytime the name Jane is said in the musical Jane Eyre).

At some shows, I'd go for non-alcoholic daqueries and Nada-Coladas during the techs. 

I remember one show where I was a light board-op at a community theatre that serves champagne for every opening.  They had left overs, which meant the light designer and sound op were in the booth drinking every night for the rest of the run and I wasn't in a position to do anything about it. They didn't even bother to use it for a game. *shakes head*  I am so glad that has never been repeated.  I hate the smell of $2/bottle champagne.

5

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

« on: Dec 11, 2006, 05:17 pm »

"No, we don't need to do a dimmer check."
"Where does this prop go?"
"Of course we can do final dress/tech and opening on the same day."

6

SMNetwork Archives / Re: Happy Stage Management Memories?

« on: Dec 11, 2006, 12:40 pm »

Thank you for this thread.  It is very encouraging.  I am a single mother and started in theater when my daughter was a year and a half old.  My family has been a great support by being willing to take her during rehearsals that she couldn't handle sitting through.  As she has grown it has become easier and I have been blessed with directors who understand the struggle to juggle parenting and theatre.  They have often allowed her to attend rehearsals and hang out in the green room while we worked or sit in a corner reading.  I was very thrilled with her response to the last show I worked on.  We had taken a break from theatre for about a year and a half and returned to it this fall.  She is 7 now so I discussed the schedule with her before applying for the show and she was eager to get back into things.  She assisted with making calls backstage when I was occupied with props or costuming problems and learned all aspects of house management at the community theatre we were at helping with them and running the concession stand by herself several nights at intermission.  During rehearsals a favorite activity was to follow along in the script as they actors rehearsed.  She is still quoting whole scenes from the show to me as the lines apply to life.  It is definitely a highlight of my stage management career.

7

SMNetwork Archives / Re: Free Stuff

« on: Nov 20, 2006, 04:48 pm »

I didn't know about the Ricola or the other that you mentioned.  I will have to look into that.  I know I got a Senseo coffee machine that is useful for small cups of hot water for the cast (it is a lot easier than a crockpot).  I usually try to have lemon juice, honey, and a few teas available during winter shows.

musicalssm

8

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

« on: Nov 20, 2006, 10:49 am »

Well, I actually have a couple of comments to add to this thread after this week.  On the gel frame, it was interesting that after discussing this issue here we discovered a dangerous gel at the show Thursday.  The light op and myself went to change a burnt lamp and discovered that an instrument at one of the entries was hung upside down.  The gel frame fell as I took it from her.  Fortunately no injuries occured and we re-hung the instrument correctly.  It was rather frightening to think that the designer had made that large of a mistake.  Her thought is that he left the light from the previous show.  I don't know the background of the other show's tech crew and it is community theatre so who knows.  I will have to pay more attention to these things in the future.

On stopping the show...I had my first close call Sat. night.  Intermission was doubled in length and then the show was able to continue.  When we brought the lights up one of the elderly ladies didn't get up or respond.  Her family was sitting next to her.  We had to RN's check on the situation (the director and house manager, incidentally) and called 911.  It appeared she had a stroke or heart attack during the final scene of Act I.  She was able to open her eyes and move her fingers a little when the paramedics arrived.  After they were able to get her on a stretcher and rolled out to the ambulance we gave everyone an extra five minutes to use the restrooms before proceeding with the performance.  I doubt I will ever forget the site of paramedics on our castle set.  Since it was theatre in the round and the only access to the seat was across the stage it was an interesting circumstance.  That is the closest I've come to having to stop a show entirely.  There was some discussion as to whether we would continue or not and I felt it was important that we go on even though we had lost a large portion of our audience and shaken the rest a little bit.  The actors did a great job maintaining their composure and everyone enjoyed the show.

musicalssm

9

Students and Novice Stage Managers / Re: In Need of *YOUR* Opinion!

« on: Nov 15, 2006, 10:07 am »

There is so much out there.  I usually start my new stage managers off with chapters from Fazzio's book Stage Management: the professional experience.  There is a lot of good material in other stage management books as well.  This one just happens to fit my methods of working best. A lot of the direction I offer depends upon whether they are just new to stage management or new to all technical theatre.  Lawerence Stern's book has a lot more to offer those with no background in technical theatre. 

Is this book meant to cover all basic aspects and duties of stage management or is it intended to supplement a stage management textbook?  I think that will have a lot of impact on what sort of things you want to include.  If it is a supplement, advice on dealing with extra long tech weeks followed immediately by a weekend run might be useful as well as how to handle a photoshoot with a large cast, what to do when bombarded with questions, how to delegate tasks and to whom at your theatre, how to set utilize your local call board, and any traditions that are unique to your theatre (talk to professors for help identifying these) such as line drills or crew views.

musicalssm

10

Stage Management: Plays & Musicals / Re: Actor Calls

« on: Nov 09, 2006, 11:31 am »

Wow!  I don't think I could make those calls for the show I'm working on right now.  It would take too long.  I'm running from one end of the theatre to the other becuase our God-mic can be heard in the house. 

I call
15 til House Opens
Half-hour
House Open--whenever the House Manager says she will open for that night (it can vary by as much as 15 min).
15 to places
10 to places
5 to place
**check w/ house manager about delays & whether she is ready for me to call places
Places (or standby for places if there is delay and then places)
House to half
House out

This is a big step for many who are used to getting calls every 5 min and no one checking with the house manager before calling places.

I have used variants on this depending on the theatre environment I was in.  I pretty much try to conform to what the actors are used to receiving unless there is a huge benefit in changing it.

musicalssm

11

Stage Management: Plays & Musicals / Re: Stage Manager's Job During Performances

« on: Nov 08, 2006, 10:14 am »

Wow! Yeah, I can so relate to that right now.    I have an ASM giving cues like that on the nights she can be there (3/4 shows per week).
Last night the cast finall got the type of notes I have been expecting for weeks.  Last night the director allowed a veteran in the theatre to watch the dress rehearsal and take notes.  We needed those a week ago.  She was even given permission to overwrite the director's decisions with regard to blocking and how a scene should be played.  She did so tactfully, but it was nice to see.  Some of the other techies and I have been talking about future shows.  I am hoping to get them accustomed to this quickly.  This means even considering directing a show and use an SM that I've trained to run backstage.    Of course, I have at least a year to wait on that bid.  The next show I wanted to work on has an "traditional SM" for this theatre already hired.  The director (who is current sound op) is cosidering using me in spite of that and either crediting me under a different title or just letting me do it for the experience and then I can do lights for the show as well.  I'm not sure how that will work out, but I have my fingers crossed.  She is currently going back for a second bachelor's in Theatre Arts at one of my favorite universities--though not the one I ended up graduating from--so she knows what I have been taught and how well it can work and how useful a good SM is to a director.  Anyway,

musicalssm

12

Stage Management: Plays & Musicals / Re: Stage Manager's Job During Performances

« on: Nov 06, 2006, 11:04 am »

Thank you.  I really enjoy that one.  I had read it years ago (before doing any community theatre) and had forgotten some of the specifics.  I'm still working on uninstalling Smoking-in-costume 7.5.   and really like the command C:\DIRECTOR\SCATTERED DREAMER-SENSITIVE ARTIST\CAN'T FUNCTION WITHOUT YOU. 

musicalssm

13

Stage Management: Plays & Musicals / Re: Stage Manager's Job During Performances

« on: Nov 06, 2006, 09:25 am »

Last night we finally ran a full tech and I got to meet the light board op.  I talked to her and the designer and we were able to work things out very easily.  Everything has gone as I told the director it would in regards to the tech crew.  They are wonderful people (and both wore blacks without being asked--it's a miracle).  I got to understand the light ops reactions and by respecting her position and giving her adequate space, her fears were relieved and I am now seated between the two with a perfect (and comfortable) view of the stage.  I really appreciate everyone's advice and support on this situation.  It is quite a shock to go from academic theatre to community theater.  I am able to watch the cues being prepped and taken and have a full cueing script with notes.  Though I conceded to not officially calling the show last night, I was able to clarify where cues were supposed to be taken and remind them when a cue was coming up if they were distracted by some other matter (like taking notes about the previous cue).  It's different, but I am much calmer.  The cast enjoys the teamwork from the SMs and was pleased to discover how many small problems were fixed as a result of this set up.  I was able to tell my ASM during a scene to prepare the hot glue gun when a cross fell of the necklace it was glued to and have her fix the curtain without being seen by the audience when it caught on a backstage stair handrail as an actor left the stage.  Its small steps, but I think overtime this little community theatre will come to see more and more the benefits of a strong stage management team.

The director will be backstage everynight to take a cue she particularly enjoys (cutting a head of cabbage with a cleaver) and I will be in the booth overseeing the show.  While it isn't 'ideal' in my opinion, it's bearable.  She was on headset last night giving a million more notes and complaints than she would ever being willing to give during Notes following the run.  Fortunately, we only have enough working headsets for the SMs and board ops.  She takes her own cue since she knows precisely how she wants it and can only blame herself for mistakes and the rest of us are a lot less stressed. 

Again, thank you.  I know this show will be a success despite the hang-ups.


~musicalssm

14

Stage Management: Plays & Musicals / Re: Stage Manager's Job During Performances

« on: Nov 03, 2006, 04:27 pm »

I've been informed that one of the reasons for me not to call the show is that the sound and light people are very territiorial.  I have talked to the sound designer and board op.  They are alright with my reasons for calling the show and understood that I'm not trying to step on anyone's toes or interfere.   I haven't talked to the lighting people.  I was told by those who know the board op that she is really tempermental about her space and people watching her.  The booth is more than large enough if I don't try to use her table and stand 10 feet back center from the window.  I should meet her this weekend sometime.  I thought I would talk to them since everything I have presented to the director has met with flat stubborness.  She has only done community theater and doesn't think that a community theatre can have anything in common with professional.  What seems to be working with the cast and crew is the explanation that I am gaining experience for future work and therefore need to practice how to run a show according to professional standards. 

I am open to further feedback or stories of similar experiences.  I'm trying to learn quickly when to accept "but it's always done this way here" and when to say I don't care (though of course more diplomatically).

Rebbe posted:
Calling the show is usually one of the SM’s core functions.  If in this Community Theater “the SM basically becomes a runner once the show opens,” the producers really should have told you that when you were hired, since I don’t think it’s what someone applying for a stage management position would expect.

Perhaps this group isn’t used to having an ASM backstage who can deal with the actors during the show, or have had bad experiences with SMs who called show badly.  Maybe they’re worried about hearing your calls, since you’re so close to the audience.

This is true.  Thank you for the reassurance that I wasn't being unreasonable in my expectations going into this job.  She talked like she wanted a real stage manager and then is not letting me do much of my job correctly.  She doesn't even allow me to give line notes though she said she wanted detailed ones taken.  I finally quit exhausting myself since I didn't have time after midnight to e-mail everyone their notes and she didn't care about even the most major errors.  I have given notes to those who cared or when a mistake is made more than two nights in a row.  Of course, with actors changing their own lines... *shakes head*  It is not wise, in my opinion, to cast your spouse as the lead in a show.

Anyway, I got sidetracked.  Back to calling the show.  They are not used to having any ASMs at all and some of the actors (who are also Board members) do not see the necessity of an SM in community theatre at all.  It is collaborative art and doesn't need that kind of structure.

15

Stage Management: Plays & Musicals / JOB DESCRIPTION: Stage Manager's Job During Performances

« on: Nov 02, 2006, 02:46 pm »

Hi!  I wanted to ask some fellow stage managers for feedback on a situation I have recently run into.  I have a BFA in Theatre Arts (with emphasis on stage management and light design) and due to the lack of theatres in my area am currently stage managing my first production with the local Community theatre.  I hired an ASM to assist me downstairs during shows so that I could call the show and over see the production from the booth, as I have done on every show I have ever SM'd.  I feel this gives me a better chance to see problems and relay them to the ASM so that they can be solved.  The only view from back stage is from 1/4 in peepholes behind the audiences seats (it is theatre in the round).  We started dress rehearsals yesterday. I was informed that the SM does not call the show, the board ops take their own cues, I am to "call" the show by remaining backstage relying on people who have seen the show for 2 rehearsals to identify problems and call problems down to me.  "The SM basically becomes a runner once the show opens," according to my director.  I am responsible for seeing that actors are in their place to go on stage, when I have done none of this throughout rehearsals.  We have a good backstage crew and I feel totally useless backstage. I would appreciate any advice you can offer on this situation.  If this is appropriate for an SM I am more than willing to comply.  However, in some of my classes and books I've read they said to never allow yourself to be pushed into this position and stressed the importance of the SM calling the show and being able to oversee everything.

A very confused,

musicalssm

P.S.  This is not a musical, but a production of "A Man for All Seasons."  It is the first show I have stage managed that was not a musical or cabaret style performance.