Recent Posts

Pages: [1] 2 3 ... 10
1
Students and Novice Stage Managers / Stage Management Survey
« Last post by Arturo1223 on Today at 02:13 am »
Hello All,

I am trying to make an anonymous survey that the cast, crew, and design team completes regarding the Stage Management Team and if they have any criticisms or ways to improve. Does anyone have any suggestions for what I should be asking?

Thanks in advance for your support!
2
Introductions / Stage Managing in Sin City
« Last post by stogin1995 on Oct 15, 2018, 09:54 pm »
Hello All!

My name is Alan J. Stogin. I have been in theatre since my Sophomore year of high school, I was a stage hand in my high school production of 'Guys and Dolls'. After high school I got my Bachelors Degree from Eastern Oregon University in La Grande, Oregon. My Degree was in Theatre: Directing and Stage Management. While at EOU I managed 6 productions. I was awarded a KCACTF Merit Award for managing a production of 'Devil Boys From Beyond'. Currently, I am in my first year of Grad School at The University of Nevada, Las Vegas. As soon as I arrived at UNLV I was assigned to Manage a new opera and a new play!

Here is a tip I have for young stage managers: Ask questions! I know it can be embarrassing to ask a question that you think everyone else knows the answer to, but once you ask, you will know too! I can not begin to tell you how many of the issues I've had could have been avoided by asking a simple question. The Stage Management Community is just that. A community, and let me say that it is a very supportive community! You should always be learning, so know that it is okay to not know how to do something.  Being able to ask questions and learn of the answers is a skill that is needed, even the most professional stage managers ask questions.

I am excited to be apart of this group and be able to gain new wisdom as well as share mine!

-Alan J. Stogin

3
The Hardline / Re: Joining AEA!
« Last post by Michelle R. Wood on Oct 15, 2018, 02:07 pm »
Quote
Congrats! I think the number one thing I didn't know is that when you have a question, it's totally okay to call your AEA rep!

This statement is very true and not just for those getting their card, but for those managing Equity actors on Special Appearance or Guest Artist contracts. The first time I reached out to the office I was intimidated, but they were super helpful and efficient with helping me work through a weird situation.
4
Students and Novice Stage Managers / Re: Writing a new script
« Last post by Michelle R. Wood on Oct 15, 2018, 02:04 pm »
I second KMC's suggestion: it's the same method I've used when keep track of changes in a script as the rehearsal process went on. Correct page numbers are not just important for actors but the entire production team, especially during tech.

Alternatively, if you don't want to type the whole thing up and have access to a photocopier, you can cut the script in pieces and write page numbers on them, then run it off on 8.5x11 paper.
5
Job Postings / DC area: Pointless Theatre in search of Production Manager
« Last post by Maribeth on Oct 11, 2018, 03:39 pm »
POINTLESS THEATRE seeks an enthusiastic and organized individual to join our staff as Production Manager for the 2018-2019 season. The Production Manager works with upper management to ensure timely scheduling and planning of the production process, proper budget development, and supervision of artists and technicians. The position is directly supervised by the Artistic Directors and Deputy Director.

Production Manager is responsible for working alongside the Director, Artistic Directors and Technical Director to hire, contract and supervise technicians, stage management, designers and performers for each production. A successful candidate is proactive, and leads with a positive and supportive attitude. Being able to anticipate needs, problem solve resourcefully, and prioritize time sensitive tasks are essential strengths in this role.

Dates for the 2018-2019 season:
Show #1: November/December Rehearsals, January/February Performances.
Show #2: April/May Rehearsals, June Performances.

This position is paid hourly.

Pointless Theatre strongly values equity and challenges historical inequity with a persistent focus on dismantling systemic racism. We work towards a more just society and as such we are an equal opportunity employer and do not discriminate against any employee or applicant for employment because of race, color, religion, national origin, gender identity, age, marital status, personal appearance, sexual orientation, family responsibilities, matriculation, political affiliation, or physical handicap.

PLEASE SEND RESUME TO patti@pointlesstheatre.com AND david.olson@gmail.com

POINTLESSTHEATRE.COM
6
Stage Management: Plays & Musicals / Re: First time SMing tech
« Last post by Tempest on Oct 11, 2018, 11:47 am »
Mizi, those are a lot of really big questions, with very long and involved answers, as well as answers that will vary greatly from person to person.
My best suggestion for you is this: find an SM that you know personally and think does good work, and offer to take them out for coffee or a drink to pick their brain. A back and forth conversation is going to serve you FAR better than a couple of quickly jotted off notes on these forums.

That being said, I'll take a stab at question 2. Walk all the backstage paths and look out for anything that could endanger or injure someone moving at speed, in the dark, encumbered, partially blind, backwards, etc. Imagine you are going to let your (or your best friend's) three year old loose to play on the set.
There should be white or glow tape on the edges of all stairs and platforms. Lighting instruments should be well above head height and if that's impossible, the area around them needs to be blocked off, if possible, filled with warnings if not. Are there banisters on stairs, and railing on platforms wherever possible? Any pits need to have their edges blatantly taped, and preferable railed. Trip hazards (cables, scenery jacks, drop pipes) should be clearly marked, again in white or glow tape. All cables should be dressed well out of actor paths. Sharp edges should be padded. Railings anyone might stumble into at speed should be padded. Headstrike dangers should be padded and marked. Make sure there are enough backstage blues that everyone can see everywhere they need to be.  If you have performers whose vision will be impeded (mask, giant wig, etc) you may need to mark out travel paths on the floor.
Then, make sure the first aid kit is easy to access, that there are towels and rags stashed somewhere to clean up unexpected spills (or flooding! my mainstage floods AWFULLY in heavy rain!), and ditto for a broom and dustpan.
Basically, if you see ANYTHING behind or onstage that makes you think for a moment that it could cause danger or injury, and then think, "Nah, it will be fine," you're thinking wrong, and the issue needs to be addressed.
7
Stage Management: Plays & Musicals / First time SMing tech
« Last post by mizi5620 on Oct 09, 2018, 09:21 pm »
I've been ASM before but this is my first SM gig so I have a bunch of questions about tech.

1. Can someone walk me through what my role is during a spacing rehearsal?
2. I know I need to do a safety walk of the theater what all should I make sure to point out?
3. Can someone walk me through running a cue to cue/wet tech


Any other advice would be greatly appriciated
8
The Hardline / Re: Joining AEA!
« Last post by Maribeth on Oct 09, 2018, 09:10 pm »
Congrats! I think the number one thing I didn't know is that when you have a question, it's totally okay to call your AEA rep! They are there to help. A lot of AEA questions that come up are situation-dependent, so you can't necessarily get a clear answer by asking someone else. Sometimes a particular theatre will get a special concession from Equity about a particular rule, so something that's okay at one theatre or on one contract might not be okay at another (or vice versa).  I've never had a rep mind me calling and asking, and it's usually the quickest way to get a question answered. If you don't know who your rep is, ask your production manager (or whoever handles AEA contracts at your theatre).

I also think it's really helpful to print out a hard copy of the rulebook for whatever contract you're working on and put post-it flags on any rules that you might want to reference quickly. For me it's usually things like the rules regarding rehearsal and performance hours, how many hours of fittings are allowed, etc. So much easier to reference them quickly. (Though the search function on a pdf is helpful too!)
9
The Hardline / Joining AEA!
« Last post by CARo on Oct 09, 2018, 07:00 pm »
Hi all!

I will be getting my equity card soon! (I have yet to sign and speak with AEA)

I was wondering if anyone has any suggestions of things I should look out for or do as I transition into an AEA SM.  Is there anything you wish you knew when you first joined?

Any words of wisdom and advise is greatly appreciate it!

Thank you!
10
Tools of the Trade / Re: Painting Marley - is it possible?
« Last post by Mac Calder on Oct 09, 2018, 06:21 pm »
I don't think you could  paint it (if you wanted it to remain flexible enough to roll up). It might be able to take a dye. Perhaps something like this Vinyl dye (sorry it's from an australian site) might work.
Pages: [1] 2 3 ... 10