MORALE: Stage managing negative shows . . .

[MatthewShiner]

So, this has come up in sort of an ongoing conversation with a colleague.  One of the most important things about stage management can be setting a positive, upbeat and professional atmosphere . . . but what happens when your attempts fail – either the are aspects of the production out of your control, or the show was doomed to failure before you start – and the atmosphere turns negative – bad rehearsal environment, heinous tech, bad reviews, or small houses – can lead to a negative buzz about the production.

What I have noticed over my career is how much more difficult is it to stage manage a production that has a “negative” buzz.    Has anyone else noticed some of these things?

1)   Performers will call out sick quicker and let understudies go on more often if there is negative buzz.
2)   In AEA situations, the productions with the negative buzz, seem to be the one where the deputy or the cast is throwing up every rule in your face.
3)   In contracts with the MRE, actors are much more like to MRE out the show.
4)   For longer runs, actors are much more likely to “get out of their contract” anyway possible.
5)   It’s also harder to maintain / note these type of shows.
6)   Actors are much more likely to play those onstage games to keep them some entertained.

Anyone else notice these or other things on these "Negative Shows"?

Edited to add title tag - Maribeth

[RuthNY]

I've noticed all these things to be true Matthew, on a show that has had a negative atmosphere.

BUT, I usually find that no matter what environment the Stage Manager tries to create, that the fish stinks from the top. If the DIRECTOR has not provided strong leadership, specific characters, specific moments, specific staging, mined every laugh out of a script, and given EVERY actor in the show at least one moment to stand out, "star" or be special, the situation can deteriorate very quickly.

All the things you mention happen when actors don't feel supported, or feel like they had to create the play themselves. We as Stage Managers do the followup leadership. The tone and the quality of work, has to be set in the room and the rehearsal by the Director by his or her own tone and quality of work.  If that's not there, it's always difficult to keep the cast's noses out of the rulebook, have them not call out for tiny ailments, or aggressively go after other employment so that they can out in for MRE or even give notice. Directors have a huge responsibility in keeping their actors happy in a show, and it starts on Day One of rehearsal. 

So, this has come up in sort of an ongoing conversation with a colleague.  One of the most important things about stage management can be setting a positive, upbeat and professional atmosphere . . . but what happens when your attempts fail – either the are aspects of the production out of your control, or the show was doomed to failure before you start – and the atmosphere turns negative – bad rehearsal environment, heinous tech, bad reviews, or small houses – can lead to a negative buzz about the production.

What I have noticed over my career is how much more difficult is it to stage manage a production that has a “negative” buzz.    Has anyone else noticed some of these things?

1)   Performers will call out sick quicker and let understudies go on more often if there is negative buzz.
2)   In AEA situations, the productions with the negative buzz, seem to be the one where the deputy or the cast is throwing up every rule in your face.
3)   In contracts with the MRE, actors are much more like to MRE out the show.
4)   For longer runs, actors are much more likely to “get out of their contract” anyway possible.
5)   It’s also harder to maintain / note these type of shows.
6)   Actors are much more likely to play those onstage games to keep them some entertained.

Anyone else notice these or other things on these "Negative Shows"?

[BARussell]

I've noticed all these things to be true Matthew, on a show that has had a negative atmosphere.

BUT, I usually find that no matter what environment the Stage Manager tries to create, that the fish stinks from the top. If the DIRECTOR has not provided strong leadership, specific characters, specific moments, specific staging, mined every laugh out of a script, and given EVERY actor in the show at least one moment to stand out, "star" or be special, the situation can deteriorate very quickly.

All the things you mention happen when actors don't feel supported, or feel like they had to create the play themselves. We as Stage Managers do the followup leadership. The tone and the quality of work, has to be set in the room and the rehearsal by the Director by his or her own tone and quality of work.  If that's not there, it's always difficult to keep the cast's noses out of the rulebook, have them not call out for tiny ailments, or aggressively go after other employment so that they can out in for MRE or even give notice. Directors have a huge responsibility in keeping their actors happy in a show, and it starts on Day One of rehearsal. 
[/b]

One of the most important things about stage management can be setting a positive, upbeat and professional atmosphere . . . but what happens when your attempts fail – either the are aspects of the production out of your control, or the show was doomed to failure before you start – and the atmosphere turns negative – bad rehearsal environment, heinous tech, bad reviews, or small houses – can lead to a negative buzz about the production.

What I have noticed over my career is how much more difficult is it to stage manage a production that has a “negative” buzz.    Has anyone else noticed some of these things?

1)   Performers will call out sick quicker and let understudies go on more often if there is negative buzz.
2)   In AEA situations, the productions with the negative buzz, seem to be the one where the deputy or the cast is throwing up every rule in your face.
3)   In contracts with the MRE, actors are much more like to MRE out the show.
4)   For longer runs, actors are much more likely to “get out of their contract” anyway possible.
5)   It’s also harder to maintain / note these type of shows.
6)   Actors are much more likely to play those onstage games to keep them some entertained.

Anyone else notice these or other things on these "Negative Shows"?

Have noticed this too. I have found that small houses and negative reviews are much easier to handle than bad environment and internal issues with direction like what Ruth is talking about. If a director sets a bad tone then the SM is in for a hell of a ride. I think it is actually one of an SM's hardest tasks how do you respect the director and his vision, environment and personal preferences when they are heinous and the cast knows they are heinous and they know you know they are heinous? Giving notes is hard yes but still doable but when people start "acting up" it seems like it is an entirely uphill battle.

[loebtmc]

I agree with Ruth that most of the time, "the fish stinks from the head" - I've had to literally separate a director from a set designer about to come to blows (in rehearsal, in front of actors) and deal with directors who bad-mouthed the company or artistic director at every turn in front of everyone, who took joy in making actors cry or who were never, ever happy about anything at all ever. But I have also worked w some actors who hunt for ways we are not following the rulebook no matter the circumstance (some of whom I know you know) and turn a lovely environment into a power-of-petty-authority one, or actors whose egos were so large there was no room for anyone else. I have also had crew/ASMs who hated being there and made that clear to all around; I have usually (but not always) been able to turn poison at least into neutral, but not always been able make it a fun place to be.

Mostly, I make sure I do something fun on my day off, and mostly I make sure I do everything I can to find the joy in the gig, from baking to in jokes w crew/cast to celebrating tiny things (the actors said the right line! Chocolate all around!) or anything else we can come up with. And I pray every night to keep sane and find a reason to celebrate every day, until the day after the show closes. (Which works MOST of the time.)

[MatthewShiner]

I have conversations with directors before . . . along the lines "It seems the room is tense, is there anything you would like me to do to help lighten it?"  often, the director will either realize that they are setting a bad tone . . . or I will realize they do give a flying fig, and then go to plan B.

I hate an us versus them mentality, especially during rehearsal . . . but sometimes it's the only way.

[loebtmc]

yeah - I've had those conversations w directors, choreo/MD types, etc. Sometimes it helps, sometimes not. As you said.

[PSMKay]

It's also critical to pay attention to your own mood. We like to think that we're neutral when it comes to our attitude but it does shift from day to day. I remember talking with an SM friend of mine who had a tendency to get punchy the week before tech. This person didn't notice it but after talking with them over the course of several different productions it became apparent to me that this was a cyclical thing. Once they were made aware, they started scheduling regular massages during that week to get over their personal negativity.

[DeeCap]

I've noticed all these things to be true Matthew, on a show that has had a negative atmosphere.

BUT, I usually find that no matter what environment the Stage Manager tries to create, that the fish stinks from the top. If the DIRECTOR has not provided strong leadership, specific characters, specific moments, specific staging, mined every laugh out of a script, and given EVERY actor in the show at least one moment to stand out, "star" or be special, the situation can deteriorate very quickly.

All the things you mention happen when actors don't feel supported, or feel like they had to create the play themselves. We as Stage Managers do the followup leadership. The tone and the quality of work, has to be set in the room and the rehearsal by the Director by his or her own tone and quality of work.  If that's not there, it's always difficult to keep the cast's noses out of the rulebook, have them not call out for tiny ailments, or aggressively go after other employment so that they can out in for MRE or even give notice. Directors have a huge responsibility in keeping their actors happy in a show, and it starts on Day One of rehearsal. 

I couldn't agree more. The last show I did there was no discipline/leadership coming from the Director/Producer. I tried to maintain a sense of order but I kept saying "Don't do this, No to this," that I just ended up being white noise. When I explained this to the Director all she could say was "I know. They're horrible"

What kept me sane was at the end of each day I would gather my asm's and we would come up with 5 things they were grateful for. It was the only way we could end the day on a positive note.