Messages

1021

Tools of the Trade / Re: Digital Show Binder

« on: Aug 13, 2011, 09:39 pm »

The most time I spend is putting cues into a digital script, which is usually an hour at the most.

What size shows do you work on?


Anyway . . . .

Here's the thing, I am not handing my ipad to my assistant to update paperwork.  A lot of ASMs can't afford an ipad. You have to sometimes work at the lowest common technological denominator.

And still, anyone working on an ipad or laptop in rehearsal still rubs me the wrong way, they aren't paying attention - maybe I am old fashion - I am probably 20 years older then most of you.

1022

Tools of the Trade / Re: Digital Show Binder

« on: Aug 13, 2011, 08:37 am »

Play all the "what if" games .... A notepad, printed check list and old fashion paper calling script is safe, trustworthy and reliable.

1023

The Green Room / Re: What Kind of SM are you?

« on: Aug 11, 2011, 12:56 pm »

Here's the real secret .... You need to be the actor stage manager to the actors, to the director stage manager to the director, the Producer's stage manager to the producer, you need to stand up for the production when it needs a voice, a tech stage manager when push come to shoves, a mother when someone needs mothering, a father when someone needs fathering, a stern manager when someone needs discipline, a benevolent manager when a soft touch is needed - and do all these without seeming two ace, or eight faced . . . Or whatever the case might be.


Stage Management is not easy.

1024

The Green Room / Re: What Kind of SM are you?

« on: Aug 10, 2011, 05:22 pm »

There are sm's who when push comes to shove will tend to side or stand up more strongly for one group or another ... If you work with a specific director a lot and tend to side with him and his needs, you may get the reputation of being a director's stage manager.  If you are constantly protecting the actors and speaking up for their needs more then other's you may get stuck with a rep of being an actor's stage manager.  You can be a stage manager who is always siding with the producer or general manager, and get that rep.  At the end of the day, it's a personal choice and style - and we could debate all day which one is right.  I hate the "mother" label because it tends to put out there there are children who need to be taken care of.  On the flip side, I get called "father" a lot to the productions I work on - go figure. 

Still - I hate anything that belittles a group of people.  My two cents.

Everyone has their own style, just be aware of how you read and who you might be leaving out.

1025

The Green Room / Re: What Kind of SM are you?

« on: Aug 05, 2011, 10:56 am »

I try to be an the production's Stage Manager, which in a lot of ways means I am on the producer's side, but not always.  I always strive to be an advocate for the person or persons who are not in the room.  For example, in rehearsal, speak up for the designers.  In production meetings, speak up for the actors.

I think I have a fairness and equality that comes across in how I deal with people the does not come across like I am siding with anyone - I don't think I get labeled as a "actors" stage manager or "directors" stage manager - but, I do get high marks from both - but ultimately, I work for the producer - I want to keep the director happy, keep the actors happy, but I want to keep the producer thrilled.

1026

The Green Room / ARTICLE: 5 Reasons To Keep A Work Diary

« on: Aug 02, 2011, 12:21 pm »

Interesting . . .

http://www.openforum.com/articles/5-reasons-to-keep-a-work-diary

1027

Self-Promotion / Re: Candide in Boston

« on: Aug 01, 2011, 08:51 pm »

Yes, TJ is still on the show - there was some question for awhile.

It's Mary's "team" across the board which I have worked with twice before.

Should be a lot of fun, but it has a hectic rehearsal process

3 Days with the 8 new cast members
3 Days with 7 of the new cast members (1 goes away for three days) + 7 of the returning cast members
4 Days with the full cast
1 Day of Staging
6 Days of tech
and then previews

GO TEAM CANDIDE!!!!

1028

Self-Promotion / Re: Candide in Boston

« on: Aug 01, 2011, 07:23 am »

Well, we can blame that on Lillian Hellman.  (Or thank her, one of the two)

1029

Self-Promotion / Re: Candide in Boston

« on: Jul 31, 2011, 07:42 pm »

Mary Zimmerman was allowed by the estate to do rewrites . . . she has gone back to a lot of Volatire . . . there is some re-ordering, cuts, additions, etc.  We will continue to work on the show, which is great - although it's still Candide, it's got a little different spin.

So, it's now known as the Zimmerman Candide.

1030

Self-Promotion / Candide in Boston

« on: Jul 31, 2011, 02:25 pm »

Press already for the next show . . . so weird, we don't start rehearsal for 22 days.

http://www.playbill.com/news/article/153170-Geoff-Packard-and-Lauren-Molina-Will-Return-to-Candide-at-the-Huntington

1031

Students and Novice Stage Managers / Re: Blocking

« on: Jul 29, 2011, 01:13 am »

When I take blocking.  I put a number next to the point the action happens, and write the blocking out on the opposite page.

I have "blocking" pages put in between the script pages  (with corners cut off so you can easily grab the other page underneath).  It usually has a mini-ground plan, a column for tech notes or director buzz words. 

1032

The Hardline / Re: Dear Abbey...

« on: Jul 25, 2011, 11:13 pm »

Also note, not all readings .... Even ones with AEA actors require a stage manager, let alone an AEA one.

1033

Stage Management: Plays & Musicals / Re: Calling cues for the spotlight operator

« on: Jul 25, 2011, 08:28 am »

On my current show we have have four stops, that are constantly on . . . we have hired a spot caller to deal with it . . . I don't think I could do the show AND call the sues.  It's interesting to let go and let someone else call . . . but as show gets bigger, it's a fact of life.

If I had to call spots, I would not be able to maintain the show at all; I would never stop talking.

1034

Employment / Re: To tattoo or not to tattoo

« on: Jul 20, 2011, 08:22 pm »

Okay, cut to the chase.

We all agree that having tattoos may or may not hurt your career . . . my question is why take the gamble?  We all know that there is going to be someone out there who is going to be prejudice against it. Jessie K has made it pretty far and not had a problem, but that's her path.  This job is hard enough, why put up more possible road blocks.

1035

Students and Novice Stage Managers / Re: Blocking Script vs Calling Script

« on: Jul 20, 2011, 01:40 am »

I've been using stickies/post-its for over a decade, and I've never "lost" a Q, nor really worried that I might.  Remember, when you're moving your script around, it's probably closed, not pages flapping in the breeze.   
And I find any tiny chance of possibly losing one Q some time a perfectly worthwhile risk considering how much quicker it is to peel up a sticky and move it, during tech, then it is to erase and neatly re-write a whole sequence of qs.
If I was doing an extremely long run show, I might permanentize the cues after a few weeks.

The issue for me would be . . . How would I know I lost a cue?

Seriously, you can jot down cues very quickly.  I tech very fast, and then go back over and clean up my script when I don't have 60 people waiting on me.

I think if you want to tech with post-its, great . . . but I think you owe to everyone to make it a little more permanent.  (How many other pieces of paperwork would you do that is accept with a post it on it?  Again, point out how odd it is we get all anal about cleaning up other paperwork, but the calling script, the single most important document you create, is often the messiest, the one you don't create a back up, and the one that is often the hardest to read - doesn't always make a lot of sense).