Messages

2011

Stage Management: Plays & Musicals / Re: Handing over a show

« on: Oct 02, 2006, 11:04 pm »

I hand over shows all the time; In fact over the past 5 years, I have handed off almost 20 shows.

(Not because I have a short attention span or anything-I just pass on shows)

What was I talking about?  Oh, yeah handing off shows.

Everytime is a little different.  It also depends on WHEN you are handing off a show.  I do it about three weeks into a run, and most of the time I am handing it over to an assistant.  Then it is a just a matter of teaching the finer points of calling a show.

I think it is a very odd time to hand over a show right before tech; but I have done it - but I was a part of rehearsals at the time, so taking over was a pretty easy transition.  Given your situation, you have to pass on ALL the info you know - that's hard, but it seems to be the only way.  And the person taking the show needs to be recepitive as well.

2012

Stage Management: Plays & Musicals / Re: Handing over a show

« on: Oct 02, 2006, 10:59 pm »

Because all stage managers are destined to be hit by a bus.

I was once.

I was in a car, but a bus struck us.

Thank goodness my prompt book was in order.

If you have not been hit by a bus yet; be prepared - it will happen to you.

It always does.

It's the curse of being a stage manager.

2013

Students and Novice Stage Managers / Re: ASMs vs SMs

« on: Sep 30, 2006, 06:52 pm »

I always have my ASM take blocking - basically because there I times I can not be in the rehearsal hall.   I also tend to have my ASMs run understudy rehearsal as well - but I know I work in a very specific situation.  I do take a little blocking here and there for entrances and major moments as I feel a need. 

I have found that on the SM track, there are very little times I need the blocking written down for myself, especially when I am watching the show - I usually have it memorized.  At the end of the show, the ASM's blocking script goes into the main SM show binder, so they "Show Bible" is put all together.

2014

Stage Management: Plays & Musicals / Re: Calling Mics

« on: Sep 27, 2006, 04:00 am »

The real answer to if you need to call the mic cues is if you need to call them, you call them.

2015

Students and Novice Stage Managers / Re: Book and Tabs

« on: Sep 27, 2006, 03:58 am »

Tab Dividers for Stage Management Book 

Calendar
o   Full Production Calendar
o   Actor Conflict Calendar

Contact Sheet
o   Full Contact Sheet (actors)
o   Full Contact Sheet (SM ver.)
o   Company List
o   Who’s Who
o   Final Contact Sheet (Closing)
o   Company Info Sheets (at back of section)

Character Scene
o   Final Character/Scene
o   Scene Titles

Scene x Scene
o   Scene x Scene
o   Scene Timings

Daily Calls
o   At Closing Confirm all are in book
o   All weekly schedules are in the book from the run.

Production Reports
o   At Opening, Confirm all are in book

Production Meetings
o   All Production Meeting Minutes


Performance Reports
o   At Closing, Confirm all are in book

Understudies
o   Understudy Bible
o   Understudy Char/Scene

Scenic
o   Copies of Storyboards
o   Copies of Mini-ground Plans
o   Full Size ground plan (Closing)
o   Pictures (as needed)
 
Costumes
o   Renderings
o   Rehearsal Costume Request
o   Item List
o   Quick Change Plot
o   Dressing Room Assignments

Props
o   Final Prop List
o   Prop Pre-Set
o   Pictures (as needed)
o   Prop Cards (if possible)

Sound
o   Sound Plot
o   Music List
o   Sheet Music (as needed)
o   Copy of Recordings (as needed on CD)

LX
o   Cue List
o   Cue Light Plot (on Map)
o   Cue Light Labeling (Diagram)
o   LX Plot

Fight
o   Copies of Fight Notation
o   Fight Notes
o   Weapons Notes
o   Blood Tracking

Dance
o   Copies of Dance Notation

EFX/Projections
o   EFX Cues
o   EFX Safety Concerns
o   EFX Blocking
o   Projection Tracking
o   Projection Images
o   Fire Tracking


Vocal Work
o   Pronunciation Sheet
o   Vocal Notes

 
Script
o   Clean Copy of Calling Script (Closing)
o   Clean Copy of Blocking Script (Closing)
o   Old Pages (at back of script)
o   Master Cut List (at back of script)
o   Daily Cut Lists (at back of script)

Run Book
o   At closing, clean copy of run book.
o   Spike Chart
o   Top of Show Preset
o   Preset and Post Show Duties

AEA Info
o   Copy of Ballots
o   Copy of Election Results
o   Equity Correspondence

Correspondence
o   Copies of all Correspondence
o   Call Board Postings
o   Late Notices
o   Copies of Workman Comp Forms (Closing)

Notes from the Director
o   Copies of Notes from the Director

Misc
o   Birthday List
o   Welcome to STC
o   Welcome to Lansburgh
o   Thank You Letter (end of show)
o   Distribution (rehearsal hall)
o   Distribution (E-mail)
o   Evacuation Form
o   Copy of the Program

2016

The Hardline / Re: Equity Mourns Patrick Quinn

« on: Sep 25, 2006, 10:34 am »

Absolutely shocked by this news.

I had the pleasure to meet him once or twice; he will be sorely missed.

2017

Stage Management: Plays & Musicals / Re: Calling Mics

« on: Sep 25, 2006, 10:31 am »

I've only called mic cues if it was for an effect; if there is a someone mixing the show with a lot of body mics, chances are they are not going to be on headset anyway.

2018

Students and Novice Stage Managers / Re: Starting a cover letter

« on: Sep 23, 2006, 10:03 pm »

It is very important, IMHO, to keep the cover letter short, sweet and the the point . . .

1) How you found out about the job (saw a job posting, friend recommended me, cold resume)

2) Briefly outline the highlights of your skill.  Make sure to address anything that may have been in the ad.  (If they are looking for someone with 5 years experience on a certain contract, state that.)

3) Close the letter.


There are style things you can do to within the letter to make it sell, Rebbe pointed out some really good things.  I awlays look for some personal connection - "I recently saw a production of ", "So-and-so, a mutual aquinatance, said I should send you my resume", etc, etc.  Something other then "I saw you ad" or "I thought I would just send my resume to you in the off chance you are hiring."

2019

College and Graduate Studies / Re: SM Internships/ACTF SM Prompt Book

« on: Sep 22, 2006, 06:06 pm »

Yes, it is considered pretty standard to apply to multiple internships, and take the one from the group of those who accept you.

2020

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

« on: Sep 21, 2006, 09:49 pm »

It's a 3 inch binder with locking rings.

Ah, I remember when I could fit my show in a three inch binder - now I am having trouble putting it all into a five inch binder. . . I will soon begin looking for a six inch binder.

2021

College and Graduate Studies / Re: Equity Courses

« on: Sep 20, 2006, 08:35 am »

I am just not sure what to teach in regards to Equity, as the rules do change, and contracts vary so much.

A full Semester on the Red/LORT book would make me tear our my eyes, but two hours going over the rules that effect stage management and performance/rehearsal rules would make sense. 

I have a quiz that goes with the red book which is a lot of "What ifs" - taking the rules and thinking the next step, or comibing the rules . . . (Like if you have a AEA stage manager and two AEA assistant stage managers, how many hours a day can rehearsal be going on?  Well, 24 hours a day, as long as no single actor/SM worked more then 8 hours. . . . things like that.)  It's not meant to be an actual quiz, but start a conversation over the rules that are more complex then they seem or how to make the most complex rules make sense (WHY DOES A STRAIGHT SIX EQUAL .

But, I would find it hard to structure a class to cover every AEA contract and feel like you had a comfortable working knowledge of all contracts - I feel it is something you learned while doing.  I think you can learn a lot just by sitting down and reading the contract book as well..

2022

Students and Novice Stage Managers / Re: director's power

« on: Sep 20, 2006, 08:29 am »

It happens, more then you would like to think.

A director comes in and changes a little something, that changes a cueing sequence.

The director asks for a time change on a fade.

There director asks point blank to make a change.

This can happen post tech, during previews, through the run.

Usually these requests need to be programed into the board, which means the LX department needs to get invovled.  At my current theatre they are really good about talking to the designer about requested changes, and making them.  (I find the two biggest changes don't come from a director's request but mine - timing and sequence.  Often as a show settles, the timing of cues can get off - and understanding the design behind the cue, you see what is going on on stage is not fitting the light cue anymore.  And it just feels wrong if the actors are doing great onstage to ask them to slow down to keep to the cue.  The other thing is, as a show settles, sometimes a show written with a lot of cues taken on visuals, have cues that become out of order . . . I worked with one designed where this happened a lot.)

2023

Students and Novice Stage Managers / Re: Working with a new Director?!?!

« on: Sep 20, 2006, 08:20 am »

I find that a quick conversation with a director, who is often pressed for time works as well.

I usually ask . . .

1.  How do you like the room set up?
2.  Do you perfer breaks after the hour or the 1 hour 20 minutes?  (although every director I ask this says the 1 hour 20 minutes).  And how would you like to be notified, if at all, that a break is coming up?
3.  Do you have any special concerns or needs for rehearsal?
4.  Do you have any special requests for rehearsal?  type of coffee?  cream?  etc.  (I promptly then tell the AD about that.)
5. Anything else I can do to make the first couple of days go great for you?

The rest of the stuff we tend to work out as we go.

I find that if you sit down and talk with the directors forever, you will find them saying one thing to paint one picture, be often doing something else.

2024

The Hardline / Re: Fight Captain Selection

« on: Sep 19, 2006, 12:59 am »

How I chose a fight captain:

1) Discuss with the fight director who they think should be the fight captain.  I tend to look for a strong fighter who is not a lead (so, not Macbeth, not Banquo, but maybe Malcolm).  If the fight director and I can't not agree on someone, I usually defer to the fight director. 

2) Discuss with the actor if they wish to be fight captain.  If they do not wish, we go back to #1.

3) If all parties agree, then I forward info to business off so he can be ridered.

2025

Stage Management: Plays & Musicals / Re: how do u put on spikes/marker if your set is full of gravel and sand?

« on: Sep 18, 2006, 03:45 pm »

I think the answer lays in what and when you need access to the spikes.

If it is a pre-show thing, then you have lots of options (A grid, digital photos, building a cut out to lay on top of the deck with areas cut out, etc, etc)

If it is something an actor needs to see to put something down or hit a mark, then you are looking at a different situation - I would see if that section of gravel and sand be "PERMANENT" - glued down, and then you could lay down a spike, as long as that didn't disrupt the look or design.

If it is something that needs to happen during the quick change, and you light plot would open to it, I you could a special that is basically the spike that is projected down.

You can also be clever in how you sculpt the sand and rocks pre-show to make specific points.

We could come out with six or seven ways to do it . . . but with more specifics you could recommend a specific example.

I have had to do pre-sets before without any spikes, so you find cheats in the floor, take a lot of digital photos.

I did do a show in the sand last season, and for the actor spikes, we found ways (like be downstage of this brickwork, and just upstage of this boom.)