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Messages - 2B

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Hmmm, tricky one. Is there a position offstage where you can call from still see the visual cues live? Can the podium be moved? I understand your concern but I personally would feel helpless trapped in a booth for the whole performance with no ASM running the deck.

My questions are - if a cast member does have a problem or something goes wrong backstage, how would they let you know during the performance? Remember that your role as stage manager is greater than just calling the show. If you do end up calling from side stage, can the operator take the visual cues on their own; how many visual cues are there?

Do discuss it with your TD so that you both understand one another's positions on the matter. If you are able to address his concerns with a plan for when things go wrong, I'm sure he'll be more open to the idea of you calling from the booth.

2
Interesting that the director would feel the need to comment on the format of your contact list. I would understand if it were the rehearsal schedule and he/she were having difficulty reading or comprehending it. Surely the director has bigger things to be concerned about. Was their problem a heirarchy listing issue perhaps, was their nose out of joint? (personally I go with an alphabetical listing, as my team and I will be the ones using it the most, it should be functional not necessarily a billing order !) Anyway...

The only times I've been requested to use a particular pro forma have been when I have been hired by long established companies with established stage management departments run by a senior stage manager. This makes sense for companies in rep; returning cast and crew get used to where they need to look for information, the head of stage management can trust that you're completing and distributing the relevant information as well as the information that the production company as a whole are expecting to receive etc..

But otherwise, as long as the document is clear, concise and relays the correct and relevant  information, I don't see that it should be a problem. I too would be shocked if the director asked me to reformat a contact list, but I would be open to discussion if it were a suggested change regarding how he/she is having difficulty reading the rehearsal schedule.

3
Definately touch base with your MD on this one and get some consistency going within the room.

My experience in musical theatre is that if it is "lyrics" they are forgetting then they would be prompted by the MD and I would prompt dialogue only. I would expect a cast member to call for a line and I would not try and second guess whether they will say it or not. Getting your cast to call "line" is a great start, especially when you are not familiar with their styles of working, and I personally would never, ever tolerate a cast member "clicking their fingers" at me to get a line (just in case this ever arises - a personal pet peeve of mine which I never let a cast member get away with more than once! ;) )

The balancing act as you may be noticing comes when the dialogue needs to be timed to music! In this situation I would rely mostly on the MD but make sure that I knew what those musical cues were and at what pace the dialogue needs to be to fit the underscore. This may also assist you when it comes to calling cues. I've not seen the score to Sweeney Todd but most of the time you will find those dialogue notes written in (and the dialogue cues for music to start) otherwise remember to make make notes in your book when it comes up in the room...

You also sound sensible enough not to get into petty debates with cast as to whether they needed prompting or not. Good move.

Most of all, have fun! Sweeny Todd is a great show and working in musical theatre is not such a bad way to pass the time!

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