106
Stage Management: Plays & Musicals / Re: Re: ESCRIPTS: Post your requests for electronic scripts here!
« on: Jan 19, 2012, 10:24 pm »
39 Steps. Word version (I have a .pdf). Please PM me for email address. Thanks in advance!
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107
Stage Management: Plays & Musicals / Re: WALK-ONS: How do you handle them?
« on: Jan 09, 2012, 04:54 pm »
I have dealt with several walk-on roles, generally during the holiday musical. Here is how our process breaks down:
1. Development solicits a list of potential dates/times for rehearsal and performance that will work with the production schedule/AEA rules from Stage Management.
2. Development sets the date with the walk-on actor as well as securing measurement info and setting a fitting date.
3. Stage Management works with the Associate Artistic Director to create a track for the walk-on actor. It usually consists of 2 to 3 appearances and curtain call. This is then communicated to Costumes and Development.
4. Development shadows backstage to learn the track for the walk-on so that they can serve as the performance escort.
5. Development meets the walk-on in the Lobby before rehearsal.
6. Stage Management gives the walk-on a tour of the space followed by a rehearsal of the track.
7. Stage Management conducts a put-in rehearsal with the full company for the walk-on.
The costume fitting was generally a week before the performance. The rehearsal was generally the hour before half-hour and the walk-on performed that night. And yes, once they are onstage, they will pretty much do whatever they want.
I'm happy to answer additional questions regarding our walk-on process.
1. Development solicits a list of potential dates/times for rehearsal and performance that will work with the production schedule/AEA rules from Stage Management.
2. Development sets the date with the walk-on actor as well as securing measurement info and setting a fitting date.
3. Stage Management works with the Associate Artistic Director to create a track for the walk-on actor. It usually consists of 2 to 3 appearances and curtain call. This is then communicated to Costumes and Development.
4. Development shadows backstage to learn the track for the walk-on so that they can serve as the performance escort.
5. Development meets the walk-on in the Lobby before rehearsal.
6. Stage Management gives the walk-on a tour of the space followed by a rehearsal of the track.
7. Stage Management conducts a put-in rehearsal with the full company for the walk-on.
The costume fitting was generally a week before the performance. The rehearsal was generally the hour before half-hour and the walk-on performed that night. And yes, once they are onstage, they will pretty much do whatever they want.
I'm happy to answer additional questions regarding our walk-on process.
108
Stage Management: Plays & Musicals / Re: SHOWS: Little Shop of Horrors - Puppeteers/Training
« on: Jan 09, 2012, 04:43 pm »
Thank you everyone. This information will be very helpful.
109
Stage Management: Plays & Musicals / SHOWS: Little Shop of Horrors - Puppeteers/Training
« on: Jan 06, 2012, 03:05 pm »
I will be working on a production of Little Shop of Horrors this coming season. If you have worked on a production of Little Shop, I am interested in learning about your experience with the following:
How many puppeteers did your production use for the manipulation of the Audrey II puppet?
Were they actors (AEA or non-AEA) or technicians?
If they were actors, did you also use them as ensemble?
How much training time was needed for the puppeteer(s) to learn how to manipulate the puppets?
How much of that training time was part of the rehearsal hours?
Did you hire an outside company to train the puppeteer(s)? If so, who?
Any other helpful hints or information that you can provide is appreciated. Thank you in advance for your responses.
How many puppeteers did your production use for the manipulation of the Audrey II puppet?
Were they actors (AEA or non-AEA) or technicians?
If they were actors, did you also use them as ensemble?
How much training time was needed for the puppeteer(s) to learn how to manipulate the puppets?
How much of that training time was part of the rehearsal hours?
Did you hire an outside company to train the puppeteer(s)? If so, who?
Any other helpful hints or information that you can provide is appreciated. Thank you in advance for your responses.
110
The Green Room / Ryan Gosling meme
« on: Dec 28, 2011, 07:40 am »
I think the one on December 26th is my favorite: http://ryangoslingartsadmin.tumblr.com/
111
The Green Room / Re: Spider-Man: Turn off the Dark
« on: Nov 18, 2011, 08:03 am »
Very cool video of Spiderman's PSM: You've Got Spiderman on Broadway.
112
Self-Promotion / Re: VelocityDC
« on: Oct 22, 2011, 10:11 pm »
I've had a pretty awesome experience. I feel like I learned a lot and I got to see some really beautiful performances.
And tonight the producer of the festival serenaded me during one of his speeches, after which the audience turned back to the booth and applauded. It was kind of amazing; I've never had anything quite like that happen before. In a sometimes thankless job it's always nice to know you're appreciated :-)
And tonight the producer of the festival serenaded me during one of his speeches, after which the audience turned back to the booth and applauded. It was kind of amazing; I've never had anything quite like that happen before. In a sometimes thankless job it's always nice to know you're appreciated :-)
113
Self-Promotion / VelocityDC
« on: Oct 20, 2011, 07:45 am »
I'm currently stage managing my first dance showcase: VelocityDC. It's a collaboration of several dance companies in the DC area representing a variety of different dance styles. The companies developed the pieces independently and will be presented gala style. We started tech yesterday and performances start tonight. It's been a very interesting experience so far and the pieces I saw yesterday are quite beautiful. Tickets are only $18, so if you're in the DC area it's definitely worth checking out.
Velocity DC
Four Days of World-class Dance
Sidney Harman Hall
October 20-23
http://velocitydc.org/
http://www.shakespearetheatre.org/velocitydc/
Velocity DC
Four Days of World-class Dance
Sidney Harman Hall
October 20-23
http://velocitydc.org/
http://www.shakespearetheatre.org/velocitydc/
114
College and Graduate Studies / Re: list of colleges - good for theater?
« on: Sep 02, 2011, 11:56 am »
I would recommend looking at the thread Best Schools for SM. I would also recommend doing a search on the forum for each of the schools listed as many of them have been discussed in previous threads. Best of luck to you as you make your college decisions.
115
Stage Management: Plays & Musicals / Re: Re: ESCRIPTS: Post your requests for electronic scripts here!
« on: Sep 01, 2011, 11:39 pm »
Does anyone have a copy of Sound of Music? Word preferred; I already have the pdf but would love to avoid the OCR conversion if possible. PM me for my email address. Thanks!
116
The Green Room / Re: Hurricane Irene and your Company's plans
« on: Aug 27, 2011, 11:21 pm »
We played to an absolutely fabulous crowd of 70. We had a power spike during Greased Lightning, but otherwise no issues. I made it home without any problems; the worst of it isn't supposed to start here for another hour or so.
Stay safe everyone as this storm continues up the East Coast.
Stay safe everyone as this storm continues up the East Coast.
117
The Green Room / Re: Hurricane Irene and your Company's plans
« on: Aug 27, 2011, 05:51 pm »
As of right now, my show is still on tonight (Grease at Olney Theatre, Olney, MD), though I've heard through friends most of the shows in the DC area have been cancelling. House count stands at 129 (and dropping; it was at 217 after the matinee). The theatre is providing housing for anyone in the cast/crew who does not want to drive home after the show.
Cast and crew are prepped on emergency procedures in the event of a power outage and we have tons of flashlights, my ASM has a walkie-talkie backstage, and I've gone over emergency procedures with HM staff. Hoping all goes well.
Cast and crew are prepped on emergency procedures in the event of a power outage and we have tons of flashlights, my ASM has a walkie-talkie backstage, and I've gone over emergency procedures with HM staff. Hoping all goes well.
118
The Hardline / Re: AEA Application?
« on: Aug 22, 2011, 10:20 am »
What I remember was a one page form that asked for contact info, how my name should be registered, had I been a member of the EMC program, etc. I received my actual membership card after submitting that form. But things certainly could have changed in the past few years, so contact AEA for the specifics.
119
The Hardline / Re: AEA Application?
« on: Aug 21, 2011, 10:55 pm »
Things may have changed since I joined about 6 years ago, but I remember receiving a sort of "Welcome to AEA" packet in the mail shortly after AEA had received both my copy and the producer's copy of my contract as well as the first payroll/AEA report had been filed by the producer. The packet included the membership application as well as a pamphlet about AEA, info on health and pension, etc. I believe it also included the sliding scale for how initiation payments would be deducted from paychecks. You can certainly contact your rep or the membership department if you have questions.
120
Stage Management: Plays & Musicals / Re: TECHNOLOGY: Rent or Buy to Fly People?
« on: Jun 28, 2011, 06:22 pm »
I agree with what Matthew has said and will throw in that I had a terrific experience working with ZFX on the production of Peter Pan I SMed in 2008. They worked with us to design flying effects that would be magical but would be feasible given the budget and the design. A representative came in to oversee the installation of the equipment and to train our crew. The representative assisted in the aerial choreography and was available to us by phone or email throughout the entire run of the production in case anything came up. The training provided as well as the help with the aerial choreography was invaluable and well worth the cost of renting.