Messages

16

SMNetwork Archives / Re: Too many sick days on Broadway.....

« on: Aug 24, 2009, 05:55 pm »

This is a great topic and a fascinating debate - thanks for posting it!
It's clearly a weighty issue, but I will say that when I worked on a show that had 3 swings the cast seemed to keep injuring themselves and there were nights that we had all swings on and were splitting tracks.  At the same theater on similarly challenging shows (or more challenging) when we only had 2 swings they rarely got to perform.  Of course we have to protect actors from doing themselves permanent damage or making things worse when performing with an injury, but it also seems that the bigger the safety net the more it's abused.

17

The Green Room / Re: Stage managing your life

« on: Jul 28, 2009, 04:02 pm »

I'm jealous - I wish I applied my Stage Managing skills better to my own life, but really I'm a bit of a disorganized mess at home.  All my planning and organization energies seem to go into work and I have none left for me!

18

Students and Novice Stage Managers / Re: What I did over my summer vacation...

« on: Jun 22, 2009, 05:37 pm »

I'm lucky enough to be employed year round at my theatre company - even though we're dark for July and August.  I'm on vacation this next week (sticking close to home) and have another week-long family vacation planned for August.  Due to budget cuts this year we're on shortened summer hours - 3 days a week, and will also need to take 4-week furlows spread throughout the next year.  I haven't figured out how that's going to work yet with my production schedule, but I'm happy to still have a job and may be looking for a little bit of part-time work.

19

Stage Management: Plays & Musicals / JOB DESCRIPTION: Production Stage Manager v Company Stage Manager

« on: Jun 03, 2009, 03:51 pm »

My official title at my theatre company is Company Stage Manager.  It's kind of an arbitrary term, but I am the resident Stage Manager, oversee the Stage Management fellow, coordinate any guest stage managers, and take care of a lot of other company business besides(I'm employed year-round even though we only produce September-June.)  My boss and I have talked about changing my title to Production Stage Manager to be more industry standard.  Does anyone have an opinion about what the appropriate job title would be and how to make those distinctions?

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Students and Novice Stage Managers / Re: Starting a tech

« on: May 31, 2009, 06:46 pm »

I like to start at the beginning - meaning preshow, and work my way through with everyone.  It usually takes us a little while to get through the first series of cues - curtain speech into blackout into lights up for the scene, but once we get in we're rolling. 

I stop at blackouts to make sure actors know their paths out and get glow tape where they need it.  When we go through a light or sound cue I usually ask the designer if they need to see that again (they are usually on headset here) and if so we stop and go back.  If I can tell it didn't happen the way it was supposed to I'll just stop and reset.  If they're cool we'll keep going.  (I always make sure that everyone knows to stop and fix as needed during tech - anyone is allowed to call a stop or hold).

We don't do cue to cues here, and we use everything and everyone from first tech on.  (We're also pretty lucky to have a decent amount of tech time to be able to take our time and work through).

I agree that everyone works a little differently, so it wouldn't hurt to ask your designers how they like to roll and make that work for you.

21

Employment / Re: Moving for a Career

« on: May 23, 2009, 07:07 pm »

I've never moved without the promise of a job - I also find that pretty scary, but I have accepted jobs from phone interviews and moved to a new place - finding housing when I got there.  I hated living in one of the cities that I moved to (though I loved the job I moved there for) and was glad that there was an end date to my contract; but I ended up falling in love with Connecticut when I moved there for a seasonal job.  I only stayed for two years, though - as I got called home for a permanent job in my home-town regional theatre.   With what we get paid in this line of work (and our crazy schedule) extensive vacation traveling isn't usually an option, so I love getting to "travel" by living and working different places.

22

The Hardline / Re: How did you get your card?

« on: Apr 30, 2009, 04:11 pm »

I got my Equity card in October of 2007.  I had been offered my card once before when a show I was ASMing needed another Equity contract to fill the ratio, but after careful consideration I turned it down.  I wasn't ready to go out and work as an Equity SM, but it was so hard to turn that down. 

I have stayed in touch with the people at the first professional theatre I worked at - in my home town, and when their Company Stage Manager decided to leave two years ago, I was on the short list of people they wanted to talk to.  They offered me the position and signed me to an Equity contract - I've been working with them ever since.  Keeping up relationships in this business is so important!

23

Tools of the Trade / Re: Oops! I didn't mean to send that.

« on: Mar 29, 2009, 12:11 pm »

Just my opinion, but I feel like reply to all should almost never be used.  It creates a lot of mail that people don't necessarily need (taking up server space), and frequently sends info to people who are not involved in whatever the discussion is.  This invites one more cook to the kitchen with their opinion of how something should work or be resolved, which is not always a good thing.  Again, just my opinion, and certainly there are times when it is a benefit, not a detriment.

I like it when "reply all" is used.  Yes, sometimes it leads to an influx of emails, but it takes half a second to delete if it doesn't pertain to you.  We've gotten a lot of good brainstorming and problem solving done by using the reply all.  Sometimes it's frustrating when people only reply to me from a report with ideas that should really go to the group.  It puts me in the position of constantly forwarding emails around.  I'm also of the opinion that we all benefit from knowing what's going on...


Edit: cleaned up bb code for quote accuracy -kmc307

24

Stage Management: Plays & Musicals / COMMUNICATION: Lobby Signage

« on: Mar 26, 2009, 05:00 pm »

In addition to Stage Managing at my Theatre company I also do some administrative duties, including lobby displays.  We are trying to come up with new lobby signage that is friendly and fun for our patrons, but gets them some live theatre ettiquette at the same time (i.e., don't talk during the show, late seating can't be accomodated, it's really rude to text during a show, actors are using the aisles so please keep them clear, if you leave the theatre you may not be able to reenter, no pictures, etc...).  

Many in our audiences don't seem to know the ettiquette involved in seeing live theatre (it's a big sports town), but we don't want to patronize and lecture them either.  We make announcements in a curtain speech, but want something in the lobby for those that need a visual (and those that got locked out because we can't do late seating...)  We'd like to do something with a bit of a sense of humor.  What do your theatres do?  Or do people just know how to behave other places?

25

Stage Management: Plays & Musicals / Re: How to explain what we do...

« on: Mar 19, 2009, 04:31 pm »

I did my presentation last night and it went really well.  I opted not to do a power point because I was told it should be more casual than that, but I came with my prompt script for our current show and the set model - which they really enjoyed.   I kept it fairly brief and talked about what I do (with specifics from the show I'm currently rehearsing) and why I love my job - everyone was interested and asked some good questions.  Most people were surprised the things I described weren't all done by the director...  At least I set them straight

26

Stage Management: Plays & Musicals / Re: Post Mortem

« on: Mar 10, 2009, 03:30 pm »

My company does post-mortems for every show.  (Though it's staff only - no guest designers or directors are present).  It's a great way to digest the good, bad, and ugly and it's been helpful to keep improving our process on every show.  Since I've been here they've never gotten ugly, but I've heard stories of some tension-filled post-mortems in the recent past.  I like the idea of establishing ground rules, then go department by department.  It's always helpful to keep the positive up front - start with what worked well.

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SMNetwork Archives / Re: I could have kissed them!

« on: Mar 08, 2009, 10:00 pm »

My ASM this season - who gives me rides, makes sure I eat, is always cheerful, always asks if I need anything, plans drink nights for the entire company, and generally keeps me sane and loving my job.  It's amazing how much difference a fantastic ASM can make!

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The Hardline / Re: Actor Notes - After opening

« on: Mar 08, 2009, 09:23 pm »

I've struggled with actor notes and am glad to see this topic addressed.  The artistic director at my company is very big on  the Stage Manager giving acting notes, but I've found that many actors aren't used to extensive SM note-giving, and some are pretty resistant to it.  I find that the only way to successfully give acting notes is to earn the actors' trust during rehearsals that you know what you're talking about and have their best interests at heart. 

I try to meet them before they leave for the night (helps when I have their valuables to return) and keep notes brief (and usually start with "great show").  I don't give notes that I know the actors are aware of - they're already beating themselves up.  If there is something that goes really well I love throwing in a compliment.  I like this face-to-face note giving as a way to stay connected to my cast; it also gives them a chance to bring up concerns to me.  On casts that have been rather difficult or bolt as soon as the lights go down, I've left individual notecards with their acting notes on their dressing stations (for their eyes only).  I choose my words carefully in giving notes so as not to offend fragile egos, and include actor notes in my performance report so the director is aware of the notes I'm giving.

Taking acting and directing classes in college definitely helped with my confidence in working with actors, understanding their processes, and speaking their language.  The main thing I try to keep focusing on with notes is that my job is to maintain the show - it's not my job to re-direct moments that I never really liked.

It's been a learning process for me, but I'm getting there...  I'd love to hear more about how other people give actor notes

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Stage Management: Plays & Musicals / Re: ASM Duties on very small show?

« on: Mar 08, 2009, 06:40 pm »

I totally agree with EFMcMullen - as I am in the same position.  I often do smaller shows, but my ASM is invaluable.  In addition to the tracking and the helping with rehearsal room set-up, she keeps me sane during otherwise hectic or boring moments in rehearsal.  If there really isn't much to do I would consider splitting your ASM's time between reherasal and other departments.  That way they can learn the show, help you out in rehearsal, you can practice delegating, and the other departments can also get a labor boost. 

30

Stage Management: Plays & Musicals / Re: How to explain what we do...

« on: Mar 08, 2009, 06:31 pm »

I forwarded you a ppt presentation I used for my board presentation in Dallas.  (Sorry, it was too large to post here.)

Thanks!  That's a great presentation - and a great way to demonstrate the skills and strangeness involved - the sense of humor is great, as well.  This is a big help!