Messages

1051

Tools of the Trade / Re: Going Green

« on: Nov 27, 2008, 02:58 pm »

I for one always set up recycling (and collect it at the end of the night). If this is a cast that doesn't clean up after themselves, I have stopped doing the ceramic mug thing, because my time has value and after a long day and a long rehearsal/show, I don't want to have to wash 30 mugs too. But I LOVE that Broadway is going green, and I am a big fan of carpooling whenever and wherever possible - tho most actors don't want to come w me, since it means extra time on both ends of the day - but my ASM and I 'pooled on my last two shows, and it was great - we kept each other awake on the ride home, and got to do our minimeeting in the car in private instead of waiting in the theater! I also love that theater in general recycles everything (costumes, etc).

1052

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

« on: Nov 22, 2008, 01:30 pm »

ahhh - I thought I was just having an "I'm overtired" moment

My places call is about everyone KNOWING we are at places regardless of when they enter, and being reassured by the SR/SL on headset (if I am in the booth) or from the other side (if I am on deck) that everyone on stage in the first 10 minutes of the show is in the wings (or wherever they need to be) for their entrances.

1053

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

« on: Nov 22, 2008, 12:47 am »

I also give places based on the house call - and I try to make places a 2 minute call so ideally it falls 3 minutes into the 5 call. But that's ideal, rarely reality. Ah well.

(haven't we had this discussion before?) my 30/15 are based on the clock, but the 5 and places are coordinated w the house. And in some big houses, FOH tells me when their 5 has been called and when they are closing the doors.

1054

The Hardline / Re: voting on AEA issues - unanimous vs majority

« on: Nov 16, 2008, 02:17 pm »

I did that, but guess I used the wrong key words - and everything was starting to look the same, and kinda blurry at that, y'know?

so I really appreciated that second set of eyes - and thank you so much!

1055

Stage Management: Plays & Musicals / Re: Preshow 5 minutes

« on: Nov 16, 2008, 02:16 pm »

when I do the preshow spiel, because the theater is small or there is no standard house spiel, it's only done at house to half, or whatever point becomes the official "we are starting the show now" point.

normally it's been pretaped and is a sound Q, or I will do it over the god mic or (rarely, at one specific house) get up in front of the aud and announce, then head to the booth and start the show.

In larger houses, my experience has been the same but always on a pretape after the producer or his/her rep does their "give us money/subscribe" spiel and the show is about to start. The FOH staff takes care of calling the audience to their seats.

The only thing I give at 5 is to actors and crew, but I always coordinate that call with the house manager so we both know when my 5 and places calls happen, and she/he tells me when everyone (or almost) is in and I can start the show.

1056

The Hardline / Re: voting on AEA issues - unanimous vs majority

« on: Nov 15, 2008, 01:41 am »

thank you - I am feeling a bit shell shocked trying to re-read thru all those pages and find stuff I KNOW is there....if only I could see it!

1057

The Hardline / Re: voting on AEA issues - unanimous vs majority

« on: Nov 11, 2008, 09:19 pm »

(love the form, may borrow it!) - I can't find the rules of unanimous vs majority in SPT or HAT - is there a rule of thumb you're aware of on that?

thank you

1058

The Hardline / voting on AEA issues - unanimous vs majority

« on: Nov 11, 2008, 09:06 pm »

I have been training a delightful young SM and he asked about the first reh meeting, where we vote on the 1-hr lunch, the 6 hr day and the deputy (and any other key issues). He asked which had to be unanimous and which majority only. My experience is that it has always been unanimous, and that all these choices are fine w majority except the 6 hr day, which I would assume needed to be unanimous, but I have searched a couple of contracts for language to that effect. I only see the 6 hr rule listed as 3/4 majority in LORT, but no mention in either SPT or HAT and the other issues not mentioned in LORT (tho I KNOW I've read them someplace) - where are all these things mentioned in the various contracts?

thank you

1059

Students and Novice Stage Managers / Re: Student Stage Manager's Challenge #4: When being an SM and a friend collide

« on: Nov 03, 2008, 01:30 pm »

This is a great learning experience on so many levels.

First, part of your job is to learn to anticipate these issues. If you go to blackout from a bright scene, you should know that the actors are gonna have trouble getting off - you need to remember that your cast has just been blinded by stage lights and can't see. Does this mean glowtape, running lights, your ASM backstage with a flashlight given them something to point towards? And common practice is to have your ASM (or, if you are lucky enough, both ASM and the other side of the stage crew) give you a clear. If it takes a ridiculously long time to get that "clear", you know there is an issue to solve which it is probably not the actors' fault. Side note: Get used to the fact that you usually will not see things that happen in the black and that you will need to learn to trust your on deck folks with headsets to let you know when your show is ready to move on.

Second, actors and crew need to feel reassured that if there is a problem, they can come to you as the SM and it will be dealt with (whether by you or others is immaterial) with no editorializing or attitude. The rule of thumb is to say YES to everything. Period. No other conversation is relevant, unless you need clarification of the problem. If you have to compromise that "yes", you can come back at a later time with alternatives and reasons, but initially your answer is yes or thank you. 

Third, just as being friends doesn't mean they get special treatment, it also means that you can't have different expectations than you would from any other actor. If you wouldn't have lost your temper with another actor, then you should not have lost your temper with this one. More, your friend is coming to you AS A STAGE MANAGER because he assume you (as a friend) will understand the challenge and (as SM) can solve it. 

Fourth, your being upset and frustrated - regardless of how your tech went and its challenges - is something you do not ever, EVER express to, or in front of, your actors (or team). If you and your ASM want to bitch after everyone is gone and in private, great. Otherwise, you need to take a deep breath and learn how not to allow your feelings affect your actions in any way. I think maybe part of the issue was your frustration with yourself and the tech - you say it was a rough night. You have to find a way to either set it aside or get that out of your system without allowing it to impact anything happening right now - and that includes dealing the actors, the director etc. Your personal feelings, while valid, must remain separate. Frankly, it sounds like your personal frustration bled into this situation, and because you saw a friend and it felt normal and safe (because of your preexisting relationship) you just reacted without thinking to their comments. But when they are actor (or crew or design team) and you are SM, you need to maintain that line and find a way to say yes, thank you, sorry, all with a smile and all with confidence.

Congratulations on learning important lessons that will be vital in your professional life. Experience is the best teacher, and you clearly have a great opportunity to take the next step by using what just happened and trying something different so you can experience the different outcome. Good luck - and break a headset!

1060

Stage Management: Plays & Musicals / Re: Prop Recipe Exchange

« on: Oct 20, 2008, 12:45 pm »

speaking of which, flat coke makes great coffee. I know I know, why not just use cold coffee. Sometimes access to a coffeemaker is harder to come by, and you can just use room temp flat coke to stand in.

And re the nose issue - have you asked a local magician for help? they specialize in instantaneous transformations of this kind -

1061

The Hardline / Re: The Ever Scrutinized Straight Six

« on: Oct 20, 2008, 12:43 pm »

I love a mix of straight 6 and an 8-hr day. For example, I like having a straight 6 on the day we do our designer run, so we can kick the cast out and start the prodn meeting without making my day stupid. There are shows where a shorter rehearsal can be useful for the rest and refreshment it allows the actors (or the time away memorizing and working on their own). As mentioned, it depends on what we are doing - granted with exceptions, the 8 hr days lend themselves to musicals just like 55/5 works better in most early choreo sessions. But I too have never had a cast say no to the option. And the fact is, the vote just gives us the option. And as long as we say yes, it's there to use shd need arise.

1062

Stage Management: Plays & Musicals / Re: Blocking Pages in Prompt Book

« on: Oct 16, 2008, 06:19 pm »

yeah - what NMNO said - the "back of the page before" was more description - I don't make it the actual back of the page before until I build the archive script - loose pages will save your ass while you are in blocking mode

1063

Stage Management: Plays & Musicals / Re: Prop Recipe Exchange

« on: Oct 16, 2008, 02:32 pm »

oh chamomile tea for white wine - brilliant - I have always used very light black tea with (depending on the lighting) a touch of yellow food color - but this is great! And recipes - I have done it by feel/look for so long .....

Champagne works well mixing tea and club soda, tho if the lights are bright enough you can use a light sparkling cider that you may need to lighten a tad. (But with Ruth's suggestion, now I will try club soda and chamomile!) My champagne recipe is: pot of black tea with 2-3 drops of yellow food coloring. In a clear bottle, pour about 1-2 inches of tea mixture into the bottom and fill most of the bottle w club soda - keep pouring off a glass to look at the balance until you get the right look for your space, and lock it.

I had to do all the booze in Savage in Limbo (a full bar, most of which gets used during the show) and learned how to do all kinds of variants out of tea - very proud to say the audience thought they were drinking the real thing - the most important thing to remember is to check it under the lights, cuz the size of the theater and heat of the lights will change what appears perfect backstage. And to lock the recipe once you've found it, or you will be playing the "is this too dark or too light" game for the whole run

1064

Stage Management: Plays & Musicals / Re: Blocking Pages in Prompt Book

« on: Oct 16, 2008, 02:20 pm »

If I might suggest -

take your stage diagram, xerox it two (maybe three if you write tiny) to a page, one on top of the other, and use that on the LEFT side (the back of the page before) as your blocking arena. This will let you read the script/score throughout rehearsal without destroying it every time the blocking/choreo spacing changes, and you can use initials and arrows and diagrams to your heart's content in the space.

FYI Choreographically, you will most likely have more than one stage picture in that much time (unless your choreo minimalizes the movement) but you will rarely need more than 1 diagram per page for the script section - so make a variety and find out what you use most

1065

The Hardline / Re: LA 99-seat question (tech)

« on: Oct 08, 2008, 03:41 am »

I could be misremembering, but I seem to recall that the most common misconception is that there is NOT a provision for 10/12 in the 99-seat plan - and beyond that, the PM shd know that tech rehearsal is NOT rehearsal time for the actors "standing around being lit" but rehearsal for the crew and stage management, a time to solve the technical issues and practice them so the show runs smoothly, so it sounds as if a little gentle education is in order.