2146
Stage Management: Plays & Musicals / More work
« on: Oct 30, 2005, 10:57 am »
Seriously, how much work does it take to flip the script over to whole punch it on the other side.
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2147
Stage Management: Plays & Musicals / ahhh
« on: Oct 27, 2005, 11:27 pm »
MC - good point.
But I have never seen someone with the script on the right side of the binder with the cues on the left side of the script before. (I imagine it would be hard to write cues with the rings of the binder in the way.)
I just assumed, and incorrectly so, that a script on the right side of the binder would have the cues on the right side. My apologies.
But I have never seen someone with the script on the right side of the binder with the cues on the left side of the script before. (I imagine it would be hard to write cues with the rings of the binder in the way.)
I just assumed, and incorrectly so, that a script on the right side of the binder would have the cues on the right side. My apologies.
2148
Stage Management: Plays & Musicals / Calling Script
« on: Oct 27, 2005, 08:41 pm »
I do have my script on the left, and take blocking on the right.
I keep it the same way for the calling script, and my reason is that is how we read the cue . . .
for example
LX 16 ----------------------To be or (NOT) to be
You read LX 16 and thn your eye keeps tracking and you call the "GO" on NOT.
I just think for ease of eye tracking this works more natural for reading, as opposed to.
To be or (NOT) to be -------------------- LX 16
Your eye has to dart to the cue number read that, and then dart back to the cue word.
That is my rational in putting the cues on the left side of the script page on the left side of the binder.
But, I have been doing it that way for almost 15 years now, so now, it is the only way that "feels right". You have to find what works for you.
(And, given the arguement that if someone has to call off it, it's difficult . . . I have found when passing off the show, it is no more difficult then the script laid out the other way.)
I keep it the same way for the calling script, and my reason is that is how we read the cue . . .
for example
LX 16 ----------------------To be or (NOT) to be
You read LX 16 and thn your eye keeps tracking and you call the "GO" on NOT.
I just think for ease of eye tracking this works more natural for reading, as opposed to.
To be or (NOT) to be -------------------- LX 16
Your eye has to dart to the cue number read that, and then dart back to the cue word.
That is my rational in putting the cues on the left side of the script page on the left side of the binder.
But, I have been doing it that way for almost 15 years now, so now, it is the only way that "feels right". You have to find what works for you.
(And, given the arguement that if someone has to call off it, it's difficult . . . I have found when passing off the show, it is no more difficult then the script laid out the other way.)
2149
Stage Management: Plays & Musicals / Um . .. yeah
« on: Oct 19, 2005, 05:48 pm »
I agree with Scoot.
If, in rehearsal, you can not find something to do . . . at the very least paying attention, then perhaps you should find another line of work.
Being present, alert and paying attention to what the director is doing and the actors are doing is very important in this profession, especially if you are going to have some hand in maintaining the show - which may not be the case.
Between taking notes, working on the report, trying to figure out who is going to move the 7th chair in the scene change, how someone is going to make the quick change, there is always something to be occupying yourself.
If you have nothing else, the least you can do is pay attention to what is going on.
Think of this way, you are the actor, working hard on a scene, you looking up, and there the stage manager is bored to the point they have to doodle to pass the time. How would that make you feel?
If, in rehearsal, you can not find something to do . . . at the very least paying attention, then perhaps you should find another line of work.
Being present, alert and paying attention to what the director is doing and the actors are doing is very important in this profession, especially if you are going to have some hand in maintaining the show - which may not be the case.
Between taking notes, working on the report, trying to figure out who is going to move the 7th chair in the scene change, how someone is going to make the quick change, there is always something to be occupying yourself.
If you have nothing else, the least you can do is pay attention to what is going on.
Think of this way, you are the actor, working hard on a scene, you looking up, and there the stage manager is bored to the point they have to doodle to pass the time. How would that make you feel?
2150
The Hardline / Topless
« on: Oct 15, 2005, 12:30 am »
Wait, but I can still have "no pants" day in the booth.
(Basically the week break downs like this . . . )
Tuesday . . . "Everyone Pay Attention Day"
Wednesday . . . "Funny Accent Days"
Thursday . . . "Tequila Thursday!"
Friday . . . "No Pants in the Booth"
Saturday . . . "Drink every time they say wherefor" (Remember we work in shakespeare)"
Sunday . . . "Board Operators Tend Bar"
(Ah, if I only could . . .)
(Basically the week break downs like this . . . )
Tuesday . . . "Everyone Pay Attention Day"
Wednesday . . . "Funny Accent Days"
Thursday . . . "Tequila Thursday!"
Friday . . . "No Pants in the Booth"
Saturday . . . "Drink every time they say wherefor" (Remember we work in shakespeare)"
Sunday . . . "Board Operators Tend Bar"
(Ah, if I only could . . .)
2151
Stage Management: Plays & Musicals / the ad
« on: Oct 14, 2005, 07:40 am »
It totally depends on how the ad is part of the team.
I have worked on shows where the AD is just there to get coffee, get sandwhich, pick up dry cleaning, etc. Other times, the AD is more like a second director. Currently, I work at a theater witha resident AD, who works along side the director, handles text changes, takes blocking for u/s rehearsals and possible remount, offers suggestions to the director, directs the u/s cast and maintains the show artistically during the run. It's great - I love have someone else during the run to help maintain it. It rarely gets in my way or make my job harder, unless the AD starts to try to do my job.
I often feel that you kind of feel out of the relaitonship as you go along, observe how the AD is used by the Director; but also feel free to ask up front how the director works with an Assistant.
(I have also worked as an Assistant Director, and I had very little interaction with the SM, other then during tech, I would go off with the SM and give calling notes - but mostly that was because of my SM experience, and this was a novice SM)
In the end, the AD is just another member of the team, like the Dramaturg, Choreographer, Fight Director, Music Director, etc, etc, that you juggle and work with - my big note is to work out that relationship with the AD up front.
I have worked on shows where the AD is just there to get coffee, get sandwhich, pick up dry cleaning, etc. Other times, the AD is more like a second director. Currently, I work at a theater witha resident AD, who works along side the director, handles text changes, takes blocking for u/s rehearsals and possible remount, offers suggestions to the director, directs the u/s cast and maintains the show artistically during the run. It's great - I love have someone else during the run to help maintain it. It rarely gets in my way or make my job harder, unless the AD starts to try to do my job.
I often feel that you kind of feel out of the relaitonship as you go along, observe how the AD is used by the Director; but also feel free to ask up front how the director works with an Assistant.
(I have also worked as an Assistant Director, and I had very little interaction with the SM, other then during tech, I would go off with the SM and give calling notes - but mostly that was because of my SM experience, and this was a novice SM)
In the end, the AD is just another member of the team, like the Dramaturg, Choreographer, Fight Director, Music Director, etc, etc, that you juggle and work with - my big note is to work out that relationship with the AD up front.
2152
The Hardline / business rep
« on: Oct 11, 2005, 07:28 pm »
I am hesitant to give out a name since it was a verbal ruling over the phone. If it was a written ruling, I would give it out.
Fundementally, it does come down to who the business rep is at the time; but I have done thus both under LORT West Coast and LORT East Coast without a problem; maybe a written ruling would be in order.
I think if indeed the letter of the rule was that both needed to be in rehearsal, the first sentance should state "Stage Manager and Assistant Stage Manager".
I don't disagree with the fact the the SM and ASM are missing information; but all of that can be communicated at the end of the break. (What about rehearsals where you have fight work and scene work going on in different rooms, or an assistant director working in another space . . . we have to bring each other up to speed.)
I think the rule is based on the fact that an Equity SM needs to be in rehearsal at all times. (Or at least in the building . . . in the cast you have 3 rehearsals going on at once - I do not think an Equity Member needds to sit on Vocal Work . . . that would be just silly.)
And in some cases it is not a financial benefit, it could be a benefit to the SM team to get out earlier or the abillity to schedule a production meeting butting up against a straight six. At times my number one goal in my life is to keep my span of day down.
Fundementally, it does come down to who the business rep is at the time; but I have done thus both under LORT West Coast and LORT East Coast without a problem; maybe a written ruling would be in order.
I think if indeed the letter of the rule was that both needed to be in rehearsal, the first sentance should state "Stage Manager and Assistant Stage Manager".
I don't disagree with the fact the the SM and ASM are missing information; but all of that can be communicated at the end of the break. (What about rehearsals where you have fight work and scene work going on in different rooms, or an assistant director working in another space . . . we have to bring each other up to speed.)
I think the rule is based on the fact that an Equity SM needs to be in rehearsal at all times. (Or at least in the building . . . in the cast you have 3 rehearsals going on at once - I do not think an Equity Member needds to sit on Vocal Work . . . that would be just silly.)
And in some cases it is not a financial benefit, it could be a benefit to the SM team to get out earlier or the abillity to schedule a production meeting butting up against a straight six. At times my number one goal in my life is to keep my span of day down.
2153
The Hardline / Equity Weighs In
« on: Oct 11, 2005, 10:34 am »
I spoke to Equity this morning . . .
Equity sides with me; the scheduling of SM staggered breaks is fine as long as one member of Equity is in the rehearsal at any given time.
So, yes, you could scheduled 16 hours of rehearsal in a day; the SM taking the first 8; the ASM taking the last 8.
Thus endeth that.
(Can't wait until the next drama . . . stay tuned. But big thanks for everyone who weighed in on my concerns)
Equity sides with me; the scheduling of SM staggered breaks is fine as long as one member of Equity is in the rehearsal at any given time.
So, yes, you could scheduled 16 hours of rehearsal in a day; the SM taking the first 8; the ASM taking the last 8.
Thus endeth that.
(Can't wait until the next drama . . . stay tuned. But big thanks for everyone who weighed in on my concerns)
2154
The Hardline / oh yeah
« on: Oct 09, 2005, 08:44 pm »
the vision of Erin in a Gorilla masks makes my day.
2155
The Hardline / working thru break
« on: Oct 09, 2005, 08:43 pm »
I often find myself working thru lunch break so I don't have to work later in the evening. Having a dog, a life-partner outside of work - working an additional hour at the end of the day is much more disturbing then working during lunch. Working thru lunch is my choice.
I have always thought of span of day being per actor thing . . . . not so much for the whole company. I often do straight sixes for some actors, but then a 8 for other actors. (It all basically boils down to staggered calls, and trying to fit in costume fittings on big shows.)
I have never read anywhere where the span of day needs to apply to the whole company.
Basically what I schedules was a 6 out 7, when staggered dinner breaks for the SM - I am still not sure I find anything that would be against that. Heath mentioned "Staggering the SM calls in this situation would, I think, be more like PSM in rehearsal from 12-6pm and ASM in rehearsal from 1-7pm. (You could still take the 20-minute-break at the same time.) I think if you set the span-of-day from 12pm-7pm for each of you, you're infringing on that rule. "- basically that's what I did, for all intensive purposes. But the ASM refused to take a break since there was still rehearsal going on and he thought that by having him take a break, he was being asked "to absent himself from rehearsals or performances" for which he thinks the rule forbids, even though there was an AEA SM in the hall at the time being.
Again, I can not wait until Tuesday to make this call.
I have always thought of span of day being per actor thing . . . . not so much for the whole company. I often do straight sixes for some actors, but then a 8 for other actors. (It all basically boils down to staggered calls, and trying to fit in costume fittings on big shows.)
I have never read anywhere where the span of day needs to apply to the whole company.
Basically what I schedules was a 6 out 7, when staggered dinner breaks for the SM - I am still not sure I find anything that would be against that. Heath mentioned "Staggering the SM calls in this situation would, I think, be more like PSM in rehearsal from 12-6pm and ASM in rehearsal from 1-7pm. (You could still take the 20-minute-break at the same time.) I think if you set the span-of-day from 12pm-7pm for each of you, you're infringing on that rule. "- basically that's what I did, for all intensive purposes. But the ASM refused to take a break since there was still rehearsal going on and he thought that by having him take a break, he was being asked "to absent himself from rehearsals or performances" for which he thinks the rule forbids, even though there was an AEA SM in the hall at the time being.
Again, I can not wait until Tuesday to make this call.
2156
The Hardline / um yeah
« on: Oct 09, 2005, 02:46 pm »
let's not talk about the duck customs
VSM just bought all mine via ebay.
(Must be a west coast thing)
:-)
VSM just bought all mine via ebay.
(Must be a west coast thing)
:-)
2157
The Hardline / more thoughts
« on: Oct 09, 2005, 01:35 pm »
I think it is important to note the requiring the sm to absent themselves is the second sentance. I think the more important sentence is the first one; if they required both of them to be there, would they not say AND vs OR. I think the second sentence modifies the first.
I will report back on Tuesday . . . I am sure they will have a different reading I have not even thought of.
(1) The Stage Manager or Assistant Stage Manager must be present at all rehearsals and performances. The Theatre shall not require members of the Equity Stage Managerial staff to absent themselves from rehearsals or performances.
I will report back on Tuesday . . . I am sure they will have a different reading I have not even thought of.
(1) The Stage Manager or Assistant Stage Manager must be present at all rehearsals and performances. The Theatre shall not require members of the Equity Stage Managerial staff to absent themselves from rehearsals or performances.
2158
Stage Management: Plays & Musicals / prize turkey
« on: Oct 08, 2005, 08:28 pm »
In Dallas we used a real turkey that went to a taxidermist.
(Apparently . . . a prize Turkey would not have been plucked yet in Dicken's time . . . It always freaked me out. It only lasted three years until a new Turkey would be purchased.)
(Apparently . . . a prize Turkey would not have been plucked yet in Dicken's time . . . It always freaked me out. It only lasted three years until a new Turkey would be purchased.)
2159
The Hardline / It all makes sense
« on: Oct 08, 2005, 08:25 pm »
No, it all makes sense to me - it's just wierd that this rule exisits in the stage management section as it own rule. (Other then to make a special penalty for the SM's meal break being missed.)
No, it makes sense. I used a striaght six block all the time - I just never remember reading this rule about SM's meal break as something special.
Matthew "What I am going to do with all these Duck Costumes" Shiner
No, it makes sense. I used a striaght six block all the time - I just never remember reading this rule about SM's meal break as something special.
Matthew "What I am going to do with all these Duck Costumes" Shiner
2160
The Hardline / Hmmmm
« on: Oct 08, 2005, 08:22 pm »
Interesting Point VSM -
Although the day before I told him to take an hour long break during the day when he wanted, since I was not scheduling an hour long break without rehearsal.
I think it would have helped if both he and I left for the hour.
As far as violating a six hour rehearsal day - no one single actor was called more then 3 hours - other then SM. I am pretty sure that all rules are PER actor - for example - if I had 3 equity SMs, I could rehearse 24 hours a day, as long as no single equity member was in vilolation of their rules. Right?
That is always as I have schedule.
I will post an update (from the east coast lort rep) on Tuesday.
But I appreicate the input.
Although the day before I told him to take an hour long break during the day when he wanted, since I was not scheduling an hour long break without rehearsal.
I think it would have helped if both he and I left for the hour.
As far as violating a six hour rehearsal day - no one single actor was called more then 3 hours - other then SM. I am pretty sure that all rules are PER actor - for example - if I had 3 equity SMs, I could rehearse 24 hours a day, as long as no single equity member was in vilolation of their rules. Right?
That is always as I have schedule.
I will post an update (from the east coast lort rep) on Tuesday.
But I appreicate the input.