Messages

106

Tools of the Trade / Re: THE Sharpie topic

« on: Feb 13, 2009, 12:44 pm »

TomorrowToday, why do you always keep gold and silver on hand?

Mainly when I need to write permanently on most surfaces in easily seen colors. They are slightly reflective so I can write reminders on the back of flats or on badly lit props tables or dressing areas. I have found some really great uses. I even write on black notebooks and such. I originally bought them for a directing presentation I needed to do and just keep them in my kit.

107

Tools of the Trade / Re: THE Sharpie topic

« on: Feb 13, 2009, 12:24 am »

Love of Sharpie to me are fine tip (the extra skinny felt tip type) and I also love the Sharpie paint pens (always keep a gold a silver on hand). Of course I also keep my standard Sharpie (regular fine tip black) around as well as my set of four mini (red, blue, green, black). Basically I help keep Sharpie lines in business by keeping my variety packs on hand.

There is nothing like a Sharpie for those ultra quick touch ups (and fixing white spots on otherwise black shoes.

108

Stage Management: Plays & Musicals / Re: Drinks on the prop list?

« on: Feb 09, 2009, 01:01 am »

My easy answer is: When in doubt, ask the director.

As for specifics, when it comes to the "glass of lemonade" adding a glass or already included my thought process asks if the lemonade is poured on stage. If the lemonade is poured on stage I would just put "pitcher of lemonade" and list the number glass separately assuming one of those glasses will be used for the lemonade. On the other hand if they bring the glass from offstage then it would be a separate glass not included in the "glass onstage" number.

As for the setting of the table, I think you just need to use common sense and stick to the basics unless the director specifies differently. So for the table cloth, if no character is mentioned as holding or placing a table cloth I would not include it. I would include enough silverware and glasses for the different characters. My personal taste is to only have one onstage glass for each character to avoid excess (unless otherwise decided). That would not include any glasses that are brought on at a different time than the setting of the table. Look for references in the script and the original stage managers notes.

If you want to be completely accurate I would love up the period you are setting the play and see what is tradition. Some time periods say the table cloth is always on the table while others demand that a new table cloth is brought out for certain meals. Look up decorum and it will also tell you how much silverware is needed (spoon, knife, fork vs. three forks, one knife). A lot of this is also under the job for your prop manager so don't stress over the details, but it will give you a better idea of what you are working with.

For my theatre, when you list an item like liquids, food, cigarettes or other items that need to be replaced for each show we put the word "consumable" in the notes list for that prop. It is not a separate list, but makes it easy to sort out of the list in excel if you need a list for someone to buy supplies from.

I hope that helps some.

109

Employment / Re: Blacklist of companies for SMs?

« on: Feb 04, 2009, 06:59 pm »

Thanks everyone for your input and ideas...

I understand no one wants to go around tattle-telling on past employers, but I was less interested in airing of personal qualms with a company (we all have those people we would rather not work with again) but more from a safety and payment standpoint. (Since I'm not Equity I don't have a union to back me up, warn me about non-payment..etc)

The only real reasons I wouldn't recommend a particular job/company to someone is if they A) had unsafe practices that could harm someone... or B) they didn't pay me or follow through on contractual obligations.

I think it's fair for someone who is beginning their career freelancing to have the opportunity to see companies' errors before they get in over their heads. On the flip side, I can see how it could turn very easily to a grievance board of bad experiences...

In this respect, I would love to see such a list. I agree that it would need to be heavily monitored to be sure that they are non-personal complaints (non payment, broken contract, unfair/unsafe conditions). My only concern for posting individual threads asking about these companies is that the right person might not be around when the question is active. A list would provide access no matter when I'm looking at a job. Being non-union I am concerned that some of these companies may have questionable practices.

Oh, and thanks to the person who brought up the rants and raves at backstagejobs.com. This is helpful information as a new stage manager to not waste time. At least with some background I can either go in prepared or walk away before it gets too late.

110

Students and Novice Stage Managers / Re: Student SM Challenge #5: Critical Paperwork

« on: Feb 01, 2009, 06:38 pm »

Definitely a contact sheet as the main piece of paperwork. I would also try to get a basic calendar made up too assuming one is not provided by the theatre.

My next step would be to get my prompt book in order. I never want to walk into a rehearsal without the script copied and any info/paperwork I am able to put into it. On the electronic side of things, I would get my e-mail distribution lists going (One for Full Company, One for RR (designers, director, etc), one for just Cast and Director). I know that is beyond critical paperwork, but they are critical steps for me to feel ready to meet the cast.

111

Students and Novice Stage Managers / Re: SO MUCH PAPERWORK

« on: Jan 28, 2009, 09:39 pm »

I am personally a legal pad fanatic. Everything that is said to me, that needs to get done, or I might need to remember gets written down on the page (each labeled with a date, one day per page). As I complete them I check it off. At the end of rehearsal while I make up reports I go through and check what things were not completed (often they belong on the report anyways). Then I write those neatly at the top of the next day's page to remind me the next morning stuff I should try to get done when I get a moment. I've survived some hectic shows with the pencil and legal pad which never leave my site during the day.

112

Stage Management: Plays & Musicals / Re: Valuables

« on: Jan 12, 2009, 08:33 pm »

I agree with everyone else, valuables should never be left unattended like they have been. I would say either don't pick them up and leave valuables up to the responsibility of the actor (leave it at home policy, like at my college's facility. We offer lockers so actors can bring their own lock if they are concerned.) Of course, the only valuables safe I've seen have been in the booth or house manager office in the front of house.

I think it is a good plan for either the SM or ASM to collect the valuables right after curtain has settled down and check in with each of the actors while handing back the bags. Someone should be checking in with them anyways so taking an extra minute to grab the bags doesn't seem too much of an inconvenience. If someone can't wait the 10 minutes it takes for the SM to get them their valuables should be told they have the right not to have the SM lock up their valuables in the first place.

I know I would be very uncomfortable having any of my valuables left in my dressing room alone, especially if it is possible to for someone to be back there that is not cast. If it were me I'd want the policy to change as well.

113

Tools of the Trade / Re: Legal ramifications with cell phone jamming.

« on: Jan 12, 2009, 08:18 pm »

I wish there was some legal way to block signals just inside the audience and backstage areas of a theatre. The lobby is fine and all and as for doctors on call there is always the solution of having the house manager hold the phone in case there is a call.

I can not count the number of people I have seen rudely texting in the middle of a performance or cell phones that accidently go off mid-performance. And I don't think "silent" or "vibrate" is acceptable because those settings can be obnoxious and distracting as well. When the screens light up with a call or text everyone sees a little ball of light and it can take the audience out of the moment. Plus "vibrate" still makes a very noticeable noise.

114

Employment / Re: Facebook through an Employer's eyes?

« on: Dec 18, 2008, 03:39 pm »

This is on the same line as knowing what the internet knows about you. At my college we found a website that seems to magically collect information from all sorts of sources. It doesn't get everyone, but a lot of people have found profiles about themselves that was compiled from a variety of websites which included pictures, addresses, phone numbers, and other unpleasant information that they didn't know was online. It is really creepy actually.

www.peekyou.com

Thus far I've been lucky. None of my info has found its way to this site and I credit that to my need for as much privacy as can be found online. A lot of my friends haven't been so lucky.

As for social networks as a method of choosing employees I have mixed feelings. I believe that what you do anytime represents who you are and you have to accept that, but I also believe that pictures and select words cannot truly give an accurate picture of a complete personality. I know many of my profile pictures, although not inappropriate in any way, would not make sense to anyone but my closest friends. I would have for an employer to not hire me because they didn't understand an inside joke.

115

SMNetwork Archives / Re: SM: the musical

« on: Dec 16, 2008, 04:49 pm »

SM the musical would be done backwards showing the backstage while a "musical" was going on the "stage". You would see the scene changes from the wrong side and all the hijinks of props being in the wrong place and essentially all the possible mistakes that could be made.

The main plot is the ASM is trying to run things backstage and doesn't think she could ever manage the stress of an actors life so she is working backstage. Then the lead actress gets hurt either just before the second act or at the 10 minute call and understudy is nowhere to be found so the ASM is pushed onstage to perform.

The hit song "Call the Understudy" (think Slings & Arrows) sung by the leading male on a side plot...

116

Stage Management: Plays & Musicals / Re: Actor Cuts throat on Vienna Stage - BBC News

« on: Dec 14, 2008, 04:20 am »

My father actually called me the day this story was on CNN to congratulate me on a directing gig I got at our student theatre on campus and told me he thought of me when he heard this story. His reasoning was because he imagined an SM being in deep trouble for not catching that issue.

Personally I don't understand why a true stage prop knife was not being used, but it sounds like they dull real knives for use on stage. Why this knife had to be replaced mid-run and no one bothered to properly prepare it before setting it on the props table is beyond me. I don't buy into the conspiracy and murder plots that were circulating around on this story. Honestly, it sounds like a lot of people getting too comfortable with a show.

I had fun telling a huge portion of the actors I work with this story and ended with the phrase "...and that is why you always check your props before the house opens." Many a time I've had actors come in right at half hour as the house is being opened and they end up checking their props in the dark. Some props you can do that with, but you can easily miss important details when you aren't able to really look over your props.

117

College and Graduate Studies / Re: Is MA in stage management helpful?

« on: Dec 05, 2008, 10:39 pm »

I want to reopen this discussion and delve in a little further.

In my situation, I am in a great undergrad program where I am getting a well rounded education in technical theatre and have had lots of opportunities to work in stage management positions. When I graduated my resume will be long with my educational theatre experience. I have also managed an internship already.

I never really considered grad school as an option financially nor did I think it necessary. Now I am starting to run across good SM MA programs that fully pay for the education and keep you living for your time there. That is a great opportunity and now I'm reconsidering my stance on grad school.

Where I am debating is if grad school right now would be more beneficial or hinder my professional career. It is all a matter of opinion of course, but I can find the two sides of the coin. Since I would graduate in December '09 I would have around 8 months to work on small festivals or one show gigs in small theatres, then go off to grad school if I was accepted. Then again I have heard the opinion that grad school is more useful to those who have a few years under their belt.

I guess I feel I am in between. I feel that I have a lot of experience and could survive in theatre working my way from the bottom up, but I also feel like three years in grad school may specialize my skills and push up my value as an SM. I also feel that this particular step might prepare me better for the type of schedule an SM keeps rather than throw me in cold from undergrad theatre.

Any opinions on this type of situation?

118

Stage Management: Plays & Musicals / Re: Fill in the BLANK...

« on: Nov 22, 2008, 12:53 am »

I remember the very first college show I called for. I had mixed up standby and warning. So I would say "Standby light cue 12..." and in response I'd here "warned" and then I'd say "Warning light cue 12" and hear standby. Even though one of my board ops was a SM major no one bothered to tell me it was suppose to be the other way around. For some reason we had not gone over this basic idea in SM I and it wasn't until after the show and during SM II that I realized my mistake. I'm still embarrassed to this day by that mistake.

119

Stage Management: Plays & Musicals / Re: Let's Talk "Places, Please"

« on: Nov 20, 2008, 12:17 pm »

I usually have someone posted at all entrances at the top of show and call up to me as soon as they get their specified actors. The rule of thumb for me is all actors in the first five minutes should be ready backstage of top of show. Of course here at school we also have a house manager speech that happens to make announcements and remind patron of sponsors and the rest of the season. So as long as I have the actors who enter first I will start the house manager speech.

120

College and Graduate Studies / Re: Is undergrad too early?

« on: Nov 18, 2008, 10:51 am »

I concur. I'm getting my BFA in Techincal Theatre Stage Management and not once have I felt held back by that. I have taken psychology classes and art history and all sorts of non-major/non-gen ed classes. Just make sure your first year you take a variety of introduction courses in fields you're interested in. That way you can take the fun upper level courses in that field when they are offered.

Is it safe to say those who argued you would pigeon-hole yourself were not theatre majors themselves? I got that opinion a few times before too, but from people who had a limited view on what theatre degrees were. Getting a theatre degree is a good choice, especially if this is the field you plan to go with.

And as Britney said, you can always get a minor if you are worried or even a double major if you are really ambitious.