Messages

31

The Hardline / AEA LORT SM's--What would you do if:

« on: May 22, 2006, 02:43 pm »

my first thought - instant problem solving thought - is to make the rehearsal an all call until you know more.  Then, if you need to make phone calls, you make phone calls.  Maybe leave the all call message with an additional note to call back after a certain time  prior to rehearsal allowing for travel.  If the director doesn't give you a proper schedule in time, the rehearsal report can note that, apologies can be made, and if you have to pay trhe actors extra for their time, the rehearsal report notes the issue with scheduling and the higher-ups know you did you best working with what you had.

32

Students and Novice Stage Managers / New Stage Manager

« on: Apr 05, 2006, 02:44 pm »

I would echo the recommendation about the T Kelly book.  Very useful, step by step primer.  Feels like you can take the information and run.  Use it wisely and everyone will think you know what you're doing even when your knees are knockin'.

Stage Management should be a practice, like medicine.  Always learning new ways to handle the next situation.

Check out the posts about musicals...they are handled essentially the same way as a "straight" play but there are some other things to consider...  And the Kelly book touches on the subject.  

Use your production manager as a resource if you have one.

You've got some big casts- a produciton analysis and detailed scene breakdown is probably going to serve you well.

Have a good time, keep positive!  (And be ready to let things roll off your back when you need to.)

33

Employment / To SM or to PM, That is the Question

« on: Mar 30, 2006, 02:52 pm »

I have been switching back and forth with a local up & coming theatre between PM & SM.  Keeps me very busy for the season.

In any case, I'm on the fence as to whether I should PM for a season or keep alternately SMing with them.  

I think they are desperately in need of a constant PM - they're at a stage where a PM is always needed and to not have a steady on for the season has led to overspending and time wasting, in my humble opinion.  I've submitted some proposals regarding improvements to the managing director, however, I didn't want to throw my name into the hat as an opportunist just yet.

Not sure why I have reservations, still trying to sort that out.

History: Been involved with theatre since I was 7.  Actor for 7yrs.  Backstage for for around 11yrs.

I've been SMing for over 5 years now and love the job, I love working with young SMs and teaching the craft.  I love being a part of the creative process - in so many more ways than one.  As an actor I remember creating a role; as an SM I am able to help create a show and bring it to life with so many other artists through rehearsal, tech and performance.  Creation is a beautiful thing.

As a PM I feel a bit seperated from the creative and I miss that rush of "go" at the perfect time and hearing the audience react.  However, I do love working with designers (yes, there are diva designers AND actors) and helping the show come together financially as well as being the "older SM" with the experience to support the production technically.

Not being an equity SM, I have horrible hours and we all know how rough that is - especially during tech week when you're working a 9-5 and then going from 6-12 with the 12-10 weekend coming up WAY too fast.  When I PM, those hours are much more relaxed and controlled by me.

After talking this through - sounds like I have an hours issue, you think?

34

SMNetwork Archives / help! advice, listeners, something!

« on: Mar 08, 2006, 02:30 pm »

I hope the situaiton gets better - and it will.  There is always a beginning a middle and an end.  Remember that, you get closer to the end everyday and then you have a measure for the future and the experience to back up your choices.

Good Luck.

35

Stage Management: Plays & Musicals / Dealing with stress

« on: Mar 05, 2006, 11:05 am »

A sage Stage Manager once told me that "There is always a beginning, a middle and an end."

This piece of advice has always stuck with me through great shows and evil, through thick and thin, through stressful and relaxing moments.

The trick is, after you reach the end, what have you learned?  What can you do better next time?

36

Students and Novice Stage Managers / Frustrated with a Inexperienced SM taking over

« on: Feb 28, 2006, 02:56 pm »

My forst thought is to think logically.  What qualities does the chosen SM have that may have led to being selected to SM the musical?  Other than being soneone's favorite, do they have experience as an actor or backstage on a musical?  Is it possible that any of that could trump you vying for the position of SM?

Did you voice your concern early on in the selection process?  Did you explain your plan for SMing the musical in order to gain the experience?  Or did you just assume that you would get the job because you are higher up on the food chain?

All that aside, it seems as if you've been available when needed to mentor, whether that mentorship is accepted or not, admirably, you stepped up to the plate as all good Stage Managers area want to do.  More than likely, you will be asked to step up to the plate again, and I'm sure you'll be ready.  Offer as much support as you can so that the show maintains.

In future, I would make sure and make it very clear why you want the gig, why you deserve the gig and how you're going to accomplish it; I believe it sounds as if your prof wasn't sold on you doing the job.

Some of Life's lessons come about in the most uncomfortable way.  So now, you have more than enough personal ambition to support your place in the future.

37

Stage Management: Plays & Musicals / Question for all the SMs out there

« on: Jan 26, 2006, 02:19 pm »

I had a board op/ASM who was reading lots of homework between cues.  She was always ready but I was nervous.  I discussed with her that I would give her warns and standbys so that I knew she was ready.  She always repeated "standing by" for me so that I knew we were in sync, if I didn't hear her response, I could make sure she was listening.

Alleviated my fear of mistakes and we worked it out together.

38

SMNetwork Archives / How does one deal with being a stage manager and a friend?

« on: Dec 22, 2005, 02:53 pm »

I would expect any of my friends to respect my position as the SM and not pull me to one side.  We all have a job to do.  And I aggree with the earlier comment that being the SM first when appropriate is important.  If the issue is show related, be the SM.  If the issue is personal, then it shouldn't be an issue during rehearsal in the 1st place.  That's just immaturity.

39

Stage Management: Plays & Musicals / Know it all

« on: Dec 02, 2005, 06:47 pm »

ah, Karma...

40

Stage Management: Plays & Musicals / Know it all

« on: Dec 01, 2005, 02:54 pm »

I would prefer my ASM to tell me so that I could take care of it.  If the SM is also on headset (as s/he should be) I would venture to guess that the SM knows what's going on and should be taking care of the issue already, if s/he is worth their salt.

If that doesn't work, it's time to go over the SM's head and talk to the PM.

41

The Green Room / SMs in media?

« on: Nov 10, 2005, 02:47 pm »

I knew that writing everything down would come back to haunt me!

42

The Green Room / SMs in media?

« on: Nov 09, 2005, 02:31 pm »

Kermit was actually the SM/Host on the Muppet Show.

There's always the movie version of Noises Off...I think that the SM in that show did her best to keep that cast together...until she got horribly involved.

43

Stage Management: Plays & Musicals / It's Half-Hour: Do you know where your SM is?

« on: Nov 07, 2005, 02:55 pm »

I think a lot of this depends on venue, cast, house...etc.

At the theatre I currently SM at, I will see the cast at 45min, just to let them know I'm around and working (if they haven't seen me already).  By 30min, I'm ready to open the house (in the best of all possible worlds) and I make sure the stage is ready, actors & crew are backstage and that house is ready.  At this point I'm in the booth.  If I come down, something is definately WRONG.  I am connected to my crew via headset and my ASM relays 15m, 10m, 5m and places to the cast.

Depending on the length of time that an actor has to travel to places is how I adjust my places call.  I currently use three minutes.  (it so happens that the director has a certin time to start the show after curtain speech that coinsides with three minutes...there is no preshow music)  So it all works out at three minutes...the actors were informed ahead of time during previews so they had a chance to get used to a three minute places.

Sometimes I use two minutes to places...really, I can't stress enough, it depends on venue, house, director and actors.

We adjust!!

44

Stage Management: Plays & Musicals / Your book Left or right?

« on: Oct 27, 2005, 02:44 pm »

I'm with Heath on this one.  Easier for all concerned.  I am left handed and have tried both ways.  I do find it easier to write my blocking on the left had side for my calling script.  I also add a arger margin in my calling script to the far right so I can easily see my cues.

45

Stage Management: Plays & Musicals / Great ASM

« on: Oct 19, 2005, 03:12 pm »

My current ASM is t he best I've ever had.  (I've had great ones in the past - very lucky)

She is not only attentive to rehearsal, actor questions and follow up (BIG ONE!!), she checks in with me all the time.  The best part is that I can let her go with expectation and it gets done (plus more than I could ask).

She takes inititive, commuicates (ANOTHER BIG ONE) and is more than helpful.

Case in point, when I met her (over the phone, I might add), we talked about past experience and the show...then I laid out what I was thinking about putting her in charge of.  I mentioned that for this show I thought I would have her take charge of props and lines...enought to keep someone busy and take a load off of me.  When we finally got to meet in person, it happened to be first rehearsal.  The director started with a bang and I was scribbling notes about preset, specific prop requests (down to color, texture, size, etc.) and the like...as I glanced over to see what my ASM was doing and she had the prop list started.  All of my fears left me at that point and I knew we were going to be a great team.

I think that's the other part of having a great ASM - does your ASM compliment you and fill in gaps that could be lacking in your style?  If so, then you have a complete team that covers all the bases.

The best part is that I only have to tell her things once and I know it's taken care of.  We can all only hope for this...