Messages

106

Students and Novice Stage Managers / Re: Preset before performance

« on: Feb 02, 2011, 11:38 am »

While I agree with Scott, that Bwoodbury's system may prove over-reaching further down the road, I must admit that I like the idea of using a plastic sleeve and wet erase markers. One of my least favorite things about pre-show checklist is the checklist format -- either I have to use a new piece of paper every day (and kill trees) or I have to use a chart and mark things off in a column (which can get messy, disorganized, and leaves little room for notes that should get transfered to a report later).

107

The Hardline / Re: Equity Crossroads

« on: Feb 02, 2011, 12:51 am »

Patiently awaiting a reply. And hoping everyone is safe. Stupid crazy weather.

108

The Hardline / Re: Equity Crossroads

« on: Feb 01, 2011, 03:23 pm »

Thanks for the advice everyone! I got in touch with the New York office, who had to forward me to the Chicago office (because that's the region the summer job is in). So I'm talking to the right people, and hopefully they'll be able to answer my questions. (I expect I'll be waiting until after this snowstorm passes the Chicago area a bit).

109

The Hardline / Equity Crossroads

« on: Jan 31, 2011, 02:50 pm »

Hey folks, I've been searching through the forums and can't quite find answers for my situation. I'm looking for some opinions.

I just agreed to an Equity contract coming up in the Spring! I'm very excited -- it's a company I worked with as a non-Eq ASM previously, and I loved my time there. I have a concern/question about the transition from non- to Equity. I've already had a job offer for a non-Equity job this summer. I understand that once I'm Equity, I cannot work non-Equity without permission. So am I SOL for this summer job because I will be Equity before it would start? Also, it *may* fall under the category of opera, but I'm not sure.

I've sent an email to the Membership contact I found on the Equity website. Should I also send an email to this summer employer?

Thanks for any advice!
Post Merge: Jan 31, 2011, 03:49 pmAnd I guess follow-up questions would be, how do I indicate that I'm in the transitional phase on my resume? And is it weird (or worst of all, inappropriate) to apply for future equity work at this point -- when the contract which would get me my card doesn't even begin until late March?

Thanks again for any advice/opinions.

Becca

110

The Green Room / Re: Little luxuries...

« on: Jan 21, 2011, 12:01 pm »

My chocolate preferences are a somewhat fluctuating assortment. However, during tech I have to have SOME kind of chocolate -- whatever I'm into at the time, I guess. I tend to go for individually wrapped things, though -- so that if people start taking pieces, they aren't diving their hands into a bag of M&Ms and getting the rest of us sick.
Also, and this is never changing, I need Honey Wheat pretzel twists. They are so good -- perfect combination of sweet and salty. And mix them with chocolate? Heaven.

111

The Green Room / Re: First Jobs

« on: Jan 21, 2011, 11:52 am »

My first paying theatre job was when I was 16. I was in (thats right, performing IN) a dinner theatre production that traveled around North Jersey. I think I got like $50 or $60 per show.

My first paying SM gig was with Bristol Valley Theatre in upstate NY during the fall semester of my Senior year of college. In planning my tech assignments for senior year, I wanted to try a few other skills out during the first half of the year, so I had specifically decided AGAINST SMing anything that semester (much to the chagrin of the directors and the TD). I was to be LBO/ME for one show and LD for the second. Well, the department gets an email that Bristol Valley is in need of an SM for their show that was part of FallFest at GEVA Theater. The department secretary emailed me, and I was available. I made $200 for the whole thing, but it was totally worth it. I learned so much, and I had a professional credit to my name.

112

Stage Management: Plays & Musicals / Re: VENUES: Tips for Summer Stock

« on: Jan 21, 2011, 11:19 am »

First, for organizing your scripts, I've always used a trapper keeper (mine zips shut) so that I can have one show (and all of its info), then a big dividing folder, then the next show, and just keep switching out scripts as time goes on. Once out of the trapper, a script goes into its own standard 3-ring binder.
That way, I ALWAYS have both current shows on me at all times and I never have to say, "Hang on, let me grab my OTHER script." All I have to do is flip behind the folder.

Last summer I worked as an ASM at a summer stock place (all musicals). Often, the cast was separated into two rehearsal spaces. The director would work on book scenes with some of the leads in one space, while the choreographer would work on major dance numbers in the other. Generally (because I was more familiar with dance and music than the SM) I would go into choreography rehearsals, and take notes on that rehearsal. By the nature of how our rehearsals worked, neither of us could ACTUALLY know/record all the blocking for any show. But between us, we had it all - so compiled, it all came together.

The other thing was that for every show, I tracked props, and the SM tracked furniture. Our theatre was in the round, so we had to track who used what, and where it came from (out of 4 aisles). By splitting this (and then communicating later) we covered everything.

On a side note, just remember that in Summer Stock, EVERYONE is stressed and EVERYONE is working super-fast. Do your best to keep the mood light. One of my personal philosophies is to know how everyone in the company displays/deals with their stress. Since it's inevitable that they will have it, and I want to dilute it as much as possible, I want to know each persons tell-tale signs, so that I can help them to the best of my ability (in the way that they need help). Do they just need to vent for a few minutes? I'll be an unbiased ear. Do they need a long walk to clear their thoughts? I'll do my best to get them one - or take one with them after rehearsal. Do they just need a drink? I'll buy them a beer after rehearsal.

One of the most genius things a director taught me was the use of an "Emergency Five." Sometimes, the stress just gets too much for someone, and even though it is not time for a break, they need to -- or they may explode. They just tell the SM or director "Emergency Five," step outside, and take a breather. Sometimes we all just need to get away. And in Summer Stock, 5 minutes is like a few hours in normal time. The Emergency Five does wonders.

113

The Green Room / Re: Suffering from what I call "theatredox"

« on: Jan 09, 2011, 04:26 pm »

I call it 'being a person'.

I agree. I read -- my latest choice was the entire Harry Potter series, and now I'm working on Julie Andrews' "Home: A Memoir of My Early Years". (And I recommend it for anyone involved in theatre, especially if you enjoy musical theatre).

As with most, I cook real food, get real sleep, have real conversations (not the usual 'get to the point so I can keep working on this show' conversations), go for real outings with my real friends (not that my theatre friends aren't real friends).

114

The Green Room / Re: Best one-liner from a performance report

« on: Oct 30, 2010, 02:32 pm »

'Jesus started falling off his cross before the show. The priest scotch taped him back on, but he needs some attention.'

115

The Green Room / Re: I can't believe I just had to do that...

« on: Oct 30, 2010, 02:26 pm »

Just had the first orchestra rehearsal for ANNIE in the rehearsal room. After the rehearsal, I had to mop up the spittle from the spit valves of all the brass. Can you say disgusting that they simply walked away from it!?!

If it helps, as a brass player myself, I can attest that it is mostly condensation, not spit.
And I'm sorry that the musicians don't have their own spit rags.

116

Tools of the Trade / Re: PROPS: Aerosol Cans

« on: Oct 18, 2010, 08:44 pm »

PSMKay, good point. The couple times I've used compressed air, it's been pointed at inanimate objects (things that were being "spraypainted" and such).

117

The Green Room / Re: Favorite brown bag lunch?

« on: Oct 12, 2010, 05:31 pm »

I just magically discovered the most delicious sandwich I've had in a while.

Deli sliced turkey with hummus (instead of mayo) on whole wheat bread.

More fiber, less fat, more yummy. Add lettuce and tomato if you like.
Next time I get to the store, I'm going to pick up other varieties of hummus (other than original) and try that on my sandwiches. I'll let you know how that goes for me.

118

The Green Room / Re: Convolution Creep

« on: Oct 12, 2010, 05:28 pm »

This summer was full of rules.

I worked at a theatre in the round. In order to get to half of the entrances, you have to go outside. And if it rains, we have to do "inside crosses," which meant you had to crouch and scurry around in front of the pit and cross your fingers you wouldn't distract the entire audience as you run by. This was especially fun during Anything Goes, when cast members in tap shoes had to sneak by across the tiny section of hardwood floor there.
And one of the doors to get to the outside cross was inside the theatre - thus during matinees, we'd be in a blackout, and suddenly everything in the theatre would light up because someone opened that door.

The backstage bathrooms were off-limits during the show because they shared a wall with the back of an audience section and the pipes ran under the entire floor of the theatre.

During performances, the cast and crew were required to park out back. At the end of the night, we had to lock the back door, which was a piece of wood you could slide into a slot, and only from the inside. So you have to lock it, and walk back through the building with all the lights off to the front door, and walk outside all the way around back.

We discovered at one point that there is a limit to how much electricity we can use without losing power in the pit. (we used two keyboards and an electric drum kit).

Each of our four entrances were masked with a curtain. The rule was no peeking through the curtain. Except that, in order for me to reach the sound booth discuss mic issues (and there were always mic issues), I had to walk through one of the curtains and climb her rickety steps to talk with her.

119

Stage Management: Plays & Musicals / Re: SHOWS: How many times have you Stage Managed the same play/musical?

« on: Oct 12, 2010, 05:11 pm »

The Music Man x3 (including once in high school) - talk about music theatre purgatory
 

Talk about music theatre purgatory...
This summer i ASMed for a production of Bye Bye Birdie.

It was my fourth production.

120

Tools of the Trade / Re: PROPS: Aerosol Cans

« on: Oct 10, 2010, 06:48 pm »

Cans of air. A sound girl I knew once used them to dry out elements from sweaty actors, but it works perfectly to simulate an aerosol spray. Under stage lights, they even tend to present a puff in the air (a la Lysol or what-have-you).