Actor Notes - After opening

[dee4156]

Hey guys.. just wanted to get some more ideas on this. I've been SMing professionally for 20 years under both AEA and Canadian Equity. I give actors notes right at the half hour (or the "35 min half") and privately, and in person. I feel it's a more effective way to communicate rather than email unless it's a technical thang. What I've heard though over the last few places that I've been at is actors grumbling about stage managers who "never give notes". It is actually rare that I do give acting notes though since if I do notice something, 9 times out of 10, the actor feels it too and self-corrects without me reminding them of the off-night.
I guess I just want to poll people and find out how often you give acting notes. And I'm not talking about the casual, "How'd it go for you" green room banter.  Sensitive topic, I know.
Thanks,
dee

[Jessie_K]

I give notes, I try to phrase them more as a conversation starter than a correction.  Though if a correction is due, I give said correction.  Even if something is off once, I will usually bring it up just in case.  Sometimes people respond well, sometimes they don't.  I try not to take it personally when an actor objects to the principle of an SM giving notes.

[Tempest]

I pay special attention to one actor each performance, and keep track of their performance.  Then, if any correction notes are needed, I'll e-mail them that night, and confirm, verbally, before the next show.  Next show, I'll watch someone else, and so on, until I get through the whole cast, then repeat.  My actors get notes about once a week, and often as not, I'll notice some wonderful, tiny bit of business, or they'll do a particular scene excellently, and I'll note that, as well as any corrections.
Of course, if someone besides my focus does something big enough to capture my notice, they'll get a note on that, no matter whose "night" it is.
I'm also a fan of giving praise in show reports.  I've never met an actor who minded getting the public note, "Act I, scene iii was wonderfully emotionally charged tonight; good job," or something like.

[maximillionx]

I'm still a college student, so I have a quick question on this topic, since I'll be graduating in May...

I have been told before it is best for the SM to not give acting notes and leave that to the director, ast. director, etc...  I have given blocking and line notes before, but not acting ones.  I do also try and encourage every actor at least a few times when they are having a good night on the stage.

So my question would be: Is it a common practice in the professional market to give an actor acting notes?

[KMC]

I'm still a college student, so I have a quick question on this topic, since I'll be graduating in May...

I have been told before it is best for the SM to not give acting notes and leave that to the director, ast. director, etc...  I have given blocking and line notes before, but not acting ones.  I do also try and encourage every actor at least a few times when they are having a good night on the stage.

So my question would be: Is it a common practice in the professional market to give an actor acting notes?

In almost all cases it is the SM's job to give acting notes after the show opens.  If anyone has told you otherwise, they are wrong.  One reason why all student SMs should take acting and directing courses in my opinion.

[SMrose]

Yes.  Usually directors don't stay with a production other than an occational "drop in" at a performance (in professional theatre). In my experience in professional theatre, I do give acting notes that keep in line with the directors concept and vision of the show (that's why I write motivation and other subtext notes in my prompt book).

[sarahbear42]

The one problem I've had giving acting notes (which I try to do very sparingly, MAYBE once or twice a run per actor, if that) is when it's a resident company that the director is a resident with... some of the resident directors I've worked with are more than happy to hand over the production to me, while I've been chewed out by other directors for giving notes they deemed "unnecessary" (despite their having said specifically not to do it in rehearsal.) So you have to know your director, esp. if they're sticking around and watching the show.

[maximillionx]

I agree with KMC; all SMs should be well versed on every aspect of theatre.  Thanks for the advice!

[MatthewShiner]

I found one of the best things to do before a director leaves a show is for you and the director to take a little walk and discuss what areas they want you to keep and eye on, what they are worried about for the run, what areas need to continue to grow, and what areas are perfect the way they are.

I found the best way to maintain a note is set up the dialogue between yourself and actors from the get go - during previews, me and my team go to the actors and ask if they have any notes - so, if there were issues we need to work the next day, we can incorporate their notes into our work list.  Then, as performances go in, a member of SM will say good night/check in with each cast member, if we have notes to give, we will - if it's minor - give it then, if it's major, we will ask them to stop by the SM office.  I find the best way to deal with any sort of actor note is to separate the note from the actor - don't start off with "You did something that was wrong.", but "There was something off" - letting the actor take the initiative in taking ownership of the issue, give their explanation, and present a solution.  (Often, the actor will self correct when called out).  At the end of the conversation, hopefully we will have solved the issue to my satisfaction - or - if we can't agree on a solution - then, at the end of the day, the note that wins is mine.  But so much better if the note is solved by the actor to my satisfaction with doing nothing more then pointing out the issue - and letting the actor know there is a problem.

If I have full cast notes or notes for a large group, I will type them up and have them waiting in an envelope - with the note to see me if they have any questions or concerns.

[Sarah]

I usually poll my casts to see if they prefer notes in person following a performance or typed up in a private correspondence for delivery prior to the next performance. Full company notes, I feel, can be distributed via the sign in sheet. I also, like Matthew, speak with the director before he or she leaves (if not local) and try to set up parameters for what really needs scrutiny.

[dee4156]

I found one of the best things to do before a director leaves a show is for you and the director to take a little walk and discuss what areas they want you to keep and eye on, what they are worried about for the run, what areas need to continue to grow, and what areas are perfect the way they are.

I found the best way to maintain a note is set up the dialogue between yourself and actors from the get go - during previews, me and my team go to the actors and ask if they have any notes - so, if there were issues we need to work the next day, we can incorporate their notes into our work list.  Then, as performances go in, a member of SM will say good night/check in with each cast member, if we have notes to give, we will - if it's minor - give it then, if it's major, we will ask them to stop by the SM office.  I find the best way to deal with any sort of actor note is to separate the note from the actor - don't start off with "You did something that was wrong.", but "There was something off" - letting the actor take the initiative in taking ownership of the issue, give their explanation, and present a solution.  (Often, the actor will self correct when called out).  At the end of the conversation, hopefully we will have solved the issue to my satisfaction - or - if we can't agree on a solution - then, at the end of the day, the note that wins is mine.  But so much better if the note is solved by the actor to my satisfaction with doing nothing more then pointing out the issue - and letting the actor know there is a problem.

If I have full cast notes or notes for a large group, I will type them up and have them waiting in an envelope - with the note to see me if they have any questions or concerns.

Thanks Matt: I do exactly the same thing actually.. have a "walk with the director" and also ask the actors during Dress and previews if they have any notes for me. Usually people are pleasantly surprised but it gives them an opportunity to express something that they'd like but didn't think it was big enough to bring up on it's own.
I also do the "casual chat" approach i.e. How was it for you tonight? Funny though.. the actors that need the most notes are the ones who whip out of the building before I come down from the booth. I swear they have their clothes on under their costumes
I like the idea from another poster who said they watch one actor per night. I have often done this although I usually don't get to this unless the show has settled and mostly out of changing up the focus for me.
I also whole-heartedly agree with giving praise. Even the tiniest things like complementing someone on their perfect hold for laughs goes a long way and opens them up to not so flattering notes or "suggestions" in the future.
My SM philosophy is bake for them the first day, shower them with compliments and really earn their respect by taking care of them and genuinely showing an interest in their well being and process. Once you have their respect, it's much easier to share in assisting them with their struggles.
Oh, and my SM mantra during rehearsals is: Do what you want and wait for the note. Most often if you give director's a choice, they either can't make up their mind or choose the most difficult option. My way, just do what you want and 9 times out of 10, it's accepted since they can SEE it's the best option
Thanks guys.. wow, it truly is an art form what we do huh? I had a veteran TD once who witnessed me dealing with an actor (I had no idea he was watching) and then when I got back to the production table, he said, "You should really go and work for the UN ya know?" and I've never shared it with anyone. It's for those experiences that we do what we do.
Cheers guys.. and thanks

[madiobrien]

Very interesting post! I work in a community theatre where the director rarely misses a show and have been strickly told to not give actors notes, but requesting notes from them is a wonderful idea that i am defiantly going to try on my next run.  Thanks guys!!

[chrrl]

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

[stancial]

I think we need to be careful in our verbiage.  I would never give a member of the cast "acting" notes.  To me, that implies artistic choices and as the SM, I don't believe it is my place to tell an actor his emotion or motivation was wrong.  I will, however, give "maintenance" notes designed to keep the cast true to the director's vision of the production.  I realize this may be a fine line, but an important distinction.

[MatthewShiner]

Um, I think that is TOTALLY splitting hairs.  How do you give a "maintenance" note without giving an "acting" note.

If you are charged with with maintaining the show artistically, then you are going to have to give "acting" notes.  What happens when you have to put in understudies? or replacements?  How do you engage in a conversation when an actor begins to stray, but they defend it with shooting back justification based upon motivation and emotion.  (Actor A says Actor B is changing their performance, Actor B claims it is the right motivation based on something Actor A is doing . . . )  If you can enage an artist in an artistic conversation you are going to get a lot further then just saying "stop doing that" or "just do it the way you used to do it."

100's of little things change in the show, especially in a long run of a show - you are never going to keep the show EXACTLY the way a show played opening night, and to be honest, most directors would want a show to grow.  You need to be able to give "acting" notes, you need to be able to engage an actor in an "artistic" conversation about their work.  It's sort of part of the standard definition of our job - now as a student, or being a SM on a short run, or if there is someone else charged with the artistic quality of the production - then it's not your job, but most theatre's would expect you to maintain the show artistically as well as technically.

My job isn't to create a photo copy of the show on opening, but allow the normal growth of a performance to happen.  Think of it as gardening and tending to a topiary.  If the show is in the shape of horse when it opens, I need to make sure it doesn't end up as a unicorn, or a bear or a moose.  But letting the show grow, and fill out, and grow into those bare patches that were there.

It's important - from the very beginning of table work - for a stage manager to start crawling into the director's head, taking notes, and be have all the documentation to back up what the director had in mind - but ultimately, a production becomes it's own entity.  For example, on my current production, once the (positive) reviews hit, although the performance didn't change, immediately changes happened in the audience's reaction - the laughed a lot more, they responded a lot more - the actors had to learn how to hold for laughter, navigate audience reaction, hold blocking back a bit - all things that effected the acting.  I couldn't tell them to just do the show as they did opening night.  (On a related note, I have had to adjust cue calling as the show adjusted to the audience.)

When an understudy goes on, I always make it clear that me and the understudy are going to meet after the show to go over notes - help them with their acting - help them with their emotions and motivation for scenes.

Also, there is a lot of just reminding them of their motivation and emotions in keeping the show true to the director's vision in the long run.  6, 8, 12, 24 weeks into the run - you will find yourself having these "Artistic" conversations.

This is one of the major reasons every stage manager should have some sort of directing background (along with design) - we are just secretaries, schedulers, disciplinarians and cue callers - we are a part of the artistic team -  as well as the technical team.

I know you are trying to draw a line in the sand, and say this type of note is okay, and this type of note if forbidden.  But in reality, at least with my style of stage management, and at the level I work as a stage manager, there are A LOT of "acting" notes given - and I am the second in command behind an assistant director who also is charged with the front line of maintaining the show.

I think as a younger stage manager, it might be good to be able to draw those lines in the sand, but as you continue down this path . . . you will find yourself being able to comfortably take on more and more responsibility.