Messages

1021

Stage Management: Plays & Musicals / Re: No Crew OR Stage Manager!!???

« on: May 17, 2009, 12:14 pm »

Actually, agreeing with everything else, I'd encourage them to call that person a stage manager - not only because so few actually understand what we do, not also because it's never too early to understand the value of what a good stage manager brings to the picture. I know I know, we are not to expect thanks or opening night gifts or any of that - but at the very least, they shd know that with a good stage manager, things get handled and the show comes together as it should.

1022

Stage Management: Plays & Musicals / Re: Requests for Electronic Scripts -- Post 'em here!

« on: May 14, 2009, 02:05 pm »

it's a musical - or a play with music - if that makes it easier to find - I have a hard copy of an early version and friends who've done it - but nothing online

(sorry, I am SO a hard-copy person - it makes a difference to me to touch/feel/hold the script and know where everything falls on the page as well as on the stage)

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The Hardline / Re: Deputy on a One Man Show

« on: Apr 15, 2009, 01:51 am »

same w me - my first asm gig I was the deputy cuz no one else on this long-running but supremely challenging show was willing to do it - and I was told in no uncertain terms by my AEA rep that altho it was preferable for the deputy to be an actor, it wasn't a requirement. And in the long run, I am grateful cuz I learned so much about my union. This was my impetus to become active and join committees and have seen how each of us can make a difference for our community. Really - it all started from being deputy on this horrific show as an ASM. So, well, go for it.

1024

Stage Management: Plays & Musicals / Re: Barrell-Through Tech

« on: Apr 06, 2009, 11:57 am »

Sorry, but this sounds like folks who don't understand tech, and why we actually want/need our one opportunity to work out the kinks and solve the challenges. I have worked w directors who don't get it, who want to run and run and don't understand why we stop for technical glitches that arise, and it's frustrating. But remember, the actors and director had (n) weeks to solve their problems, reworking as they went. We have one or two days to put all the disparate pieces together (some of which we may be seeing for the first time), make sure no one gets hurt, the actors feel safe, the effects work, the costumes and props do what they're supposed to, the things that were overlooked or forgotten, the precision timing on scene shifts happens, etc. I for one don't feel it's fair for you to find out in front of an audience or get blamed for problems that they didn't allow you time and space to solve. Theater is experiential, and solving on paper or in theory is all well and good, but you gotta actually DO it to know.

You may not have a big set or costume plot, but you do say you have have acoustic issues, and sound cues and light cues that (I presume) require precision, meaning you have to try a couple of times to know exactly where to call them, what to look/listen for, etc. And if they insist on ignoring the tech, you can't take it personally if you don't get it perfectly the first, or even third, time. There's a reason we do it again once we get it right, to lock it in!

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Students and Novice Stage Managers / Re: Dear Abby: Torn between two majors

« on: Apr 06, 2009, 11:40 am »

OK, assuming the parents are paying for college, let's talk lemonade. If your school is like so many, there will be many extracurricular opportunities - the theater dept is always crawling with actor-types, but fewer willing to crew/ do the heavy lifting that goes along with tech theater as well as the actual run of a show. You can stay involved by participating. And computer skills tie perfectly to lighting and set design so in fact would enhance your skills in that arena shd you decide to go in that direction. All the latest diagrams, blueprints and hanging plots are done with computer programs that allow all kinds of quick and fascinating options.

You can certainly double major if you have the time and inclination, but in fact, several large theater depts (or those w on-campus theaters used by outside companies) have paid positions for their FOH staff and backstage crew - you can run spot or the rail, help hanging/focusing lights, loading in or out sets etc. In addition to adding a valuable skill set and staying connected to theater, you also demonstrate to your parents that one CAN make money working behind the scenes. In fact, three shows I have recently done on campus-shared houses had crew that made their livings (or a decent percentage) by working the touring shows (and, in once case, the campus shows as well). And, FWIW, as an undergrad, I earned a good chunk of my expenses working in the box office and house managing/ushering etc for touring companies and campus shows running through our 4 theaters - mind you, this in a university with no theater dept, let alone major, just campus performing groups.

Pick the place you want to be, a campus that offers a lot of variety, and go for it!

1026

Stage Management: Plays & Musicals / Re: Headset Etiquette

« on: Apr 04, 2009, 09:03 pm »

OK - I have a question for you. Preface this with: I didn't go to school to learn stage management but learned by doing.

From my earliest ASM days, I was always trained that the person calling the show left their headset open (unless they were coughing, eating or drinking, of course) but everyone else kept it off except for confirmations and specific sections where communication was needed. Of course, this is in addition to headset chatter on certain shows, but that is not of concern.

I recently worked with a young ASM who went to college to learn SMing, and also who has done some impressive work in her former community. She was terrific, but one night said something sarcastic abt leaving the headset open and that it was always supposed to be closed unless cues were being called.

I have no issues either way, but I have never had the PSM (or person calling the show) NOT have an open headset throughout (again, unless they coughed, ate or drank). So I thought I'd ask the peanut gallery here if anyone had thoughts on this.

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Stage Management: Plays & Musicals / Re: Marking Out the Floor Without Tape

« on: Apr 04, 2009, 08:55 pm »

I really appreciated this timely discussion, because my act 1 set for Is He Dead will be on drop cloths - the act 1 set is on top of the act 2 set and the overlap is being covered by them.

I have, of course, notified costumes and props, but this is an interesting conundrum since the stage won't be level and we will have to figure out how to label the drop for safety!

Will let you know what happens on our end when we get all the pieces together -

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Stage Management: Plays & Musicals / Re: has anyone worked "is he dead"

« on: Apr 03, 2009, 11:38 am »

I sent a direct email but just in case - our costumer wasn't able to make the initial prodn meeting so in addition to the QC issues, I was wondering how you guys had solved the painted/overpainted pants moment - did you use a velcro'd patch that was patched over (or lifted and replaced), did you use yellow then black tempura that had to wait to dry, or tape....how was that moment solved? I assume anything truly wet and colored would not have worked, too much busy-ness and too many things to rub up against. Just asking...

and thank you

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Students and Novice Stage Managers / Re: Working with animals?

« on: Mar 18, 2009, 12:50 am »

I agree - to put it in terms the director can understand, if anyone got bit, the legal ramifications and lawsuits would break the school. And who protects the animal from possible abuse? What everyone else has said is right. No handler, no animal on stage. Safety first - for both the humans and for the monkey!

1030

Stage Management: Plays & Musicals / Re: has anyone worked "is he dead"

« on: Mar 08, 2009, 04:00 am »

Thank you so much for the info! This is very helpful, esp as the theater is asking for a concession to the ASM requirement - and this gives me an idea of the crew size required.

Sounds like a fun piece - and once my current show stops having nightly crises and changes and I actually get to sit down and read this, I appreciate the opportunity to ask any specific questions that may arise.

again, THANK YOU

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Stage Management: Plays & Musicals / SHOWS: has anyone worked "is he dead"

« on: Mar 06, 2009, 12:30 pm »

I was wondering if anyone had done this newly discovered piece by Mark Twain - and if so, is it particularly prop or set or effect heavy, are there any concerns I shd know abt etc?

thank you in advance

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The Hardline / Re: Theatres That Have Closed--Can You Say "Emergency?"

« on: Mar 04, 2009, 12:13 pm »

From a theater newsletter

Georgia Shakespeare has canceled its annual free summer offering of the Bard's work, Shake at the Lake, due to budgetary concerns and lack of funding.

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Stage Management: Plays & Musicals / Re: Calling Script

« on: Mar 03, 2009, 07:58 pm »

I did it that way for a long time - even using my first Monday off after we open to make my clean prompt book w blocking on the left (corresponding to numbers nicely printed in the script) and a clean calling area on the right.

This stopped on an original where the blocking changed drastically in tech, combined w my first experience using post-it flags. Nice neat calling script with nothing else in it, here I came! Add to it the fee I wasn't going to get to turn in a clean readable copy of the updates (vs my scribbled note as they happened) and I have not merged since, other than one show that I knew would be touring so I added the clean blocking (for u/s reh) to my clean calling script.

So much less time and energy....esp as these days, most producers look at me strangely when I try to give them the archive copy (my calling script plus any of the design stuff I have been able to get from the dept heads).

(oddly, I just had my first LD refuse to give me the plot, citing artistic/design rights)

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Stage Management: Plays & Musicals / Re: Creating a Calling Script

« on: Feb 22, 2009, 12:46 pm »

So, I can go into another room for a frozen reeses, and call over headset "Light Cue 32, GO."

um, yikes that kinda scares me - I can't think of a time I would call a cue without actually seeing what was going on onstage, just in case someone was late or early, or something fell, or the moment needed another half-beat, or whatever. Leaving the booth? already a grey area at best, but never when there are cues to be called unless (in some of the small theaters I have worked without an asst) there is direst emergency and someone else who knows the show cold is watching the stage while I solve.

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Students and Novice Stage Managers / Re: Need Help: We open soon and nothing is ready!

« on: Feb 21, 2009, 02:39 pm »

Might I suggest a staged reading with only the essential sound effects? (Tho those need rehearsal as well, they will be safer and easier to load into Noises Off than staging!)

pat