Messages

121

Tools of the Trade / Re: Running Shoes

« on: Jan 19, 2010, 05:16 pm »

You can find more opinions on footwear at this thread:

"I discovered the best SM/backstage shoes ever"
http://smnetwork.org/forum/index.php/topic,3229.0.html

122

The Hardline / Re: Legal Issues

« on: Jan 18, 2010, 03:16 pm »

I’m glad to hear your company is seeking legal advice, since you really need a professional’s opinion on the liability questions.

I don’t have any legal answers, but I would suggest you trust your gut.  You seem, understandably, uncomfortable with the level of safety, and the uncertainty surrounding what would happen in the event of an accident.  You have the option of telling the creative director you will not attend rehearsals until these issues are cleared up.  If the rest of the management team can back you up on this, framing it in terms of a professional company needing to operate to certain standards, all the better. 

Can you get a specific timeline from the attorney the company is consulting, as to when they can get you some answers?  Maybe the director will be more reasonable if he knows that he will be waiting three days, rather than three weeks. 

I think KMC’s advice to seek independent counsel is wise.  If you’re worried about the expense, ask around among your family, friends, and colleagues, and someone may be able to recommend a lawyer who could answer enough of your questions for you to feel comfortable.   

123

Students and Novice Stage Managers / Re: SM Internships??

« on: Jan 14, 2010, 06:16 pm »

Here are two recently advertised in the DC area.  May not be exactly what you are looking for, but can give you an idea of what's out there:

Professional Apprentice (full time, 2010-2011 season)
Imagination Stage, a professional children’s theatre in Bethesda MD , is looking for FT Apprentices to work in all aspects of theatre operations during the 2010-2011 season, while focusing in either Marketing, Development, Artistic Direction, Technical Theatre, or Education.  Apprentices should have a theatre background and commitment to sharing their skills and expertise with children.  BA required.  Compensation: $1400/month, health benefits and transportation allowance.  Theatre is accessible via Washington DC ’s Metro.  For application information, please visit our website, www.imaginationstag e.org and send applications to Julia Krebs, Apprenticeship Program Manager, 4908 Auburn Avenue , Bethesda , MD 20814 .  Email: jkrebs@imaginations tage.org.  Application deadline: March 15, 2010. 


Synetic Theater is seeking a stage management intern for its mainstage series.  This is a 30-40 hour/week internship, with the intern splitting time between working with the stage manager in rehearsals and performance, and aiding the production manager and technical director with production work.  This is an excellent opportunity for a college student or recent graduate to work closely with area professionals and develop professional stage management and production experience at DC's premiere physical theatre.  Attendance at all technical rehearsals and performances is required, remaining hours are flexible and subject to the skills and desired goals of applicant.  Position runs January 20th-May 22nd, with possible extension through June, if available.  Stipend provided.  Own transportation desirable, but not required.  Interested applicants should send cover letter and resume to Abby Lynch, Production Manager, at abbylynch@syneticth eater.org.

124

Students and Novice Stage Managers / Re: Interview questions

« on: Jan 14, 2010, 06:05 pm »

If you’re interviewing for a specific show and it would be your first time with the theater company, I’d ask a lot of prep week type questions:
-what is the rehearsal room like, is there storage space there
-how soon do rehearsals move to the stage
-what is the director like/have they worked with the company before
-what is the typical tech week schedule for the company
-what is the company philosophy on Previews (good time for script changes vs. perfecting the tech)
- do you have a PA or ASM in rehearsal and what is their background (paid/unpaid/student), how many crew will run the show
-does the SM call from the booth or backstage
-who handles script changes?  Will there be a dramturg?  Will there be an Assistant Director?
-Is there an SM office/computer/printer/copy machine?  Does anyone else use that office as well?
-Who are the other department heads you’ll be working with (is there a TD & ATD on staff?  Is there a Costume Shop & Manager, or do designers work on their own?  Is there a crew head, or does that fall to the SM? Does the ME run the light board?  Is there a resident sound person?)

If you are interviewing for a year-round position, some of the above questions might still be good, but you might want to ask more generally procedural questions.   You would also want to ask about benefits, and how requests for time off and sick leave are handled, and who your direct supervisor is.

125

Stage Management: Plays & Musicals / Re: REHEARSALS: Volunteer crew who don't want to show up regularily!

« on: Jan 14, 2010, 05:45 pm »

Does this theater company typically ask volunteer crew to join rehearsals 1.5 months before the show?  That seems very early to me.  How many nights per week are you rehearsing, and for how many hours?  Maybe you can check with whoever recruited the volunteers and confirm what kind of time commitment they were told to expect; if it was less than what you are asking, that could be the root of the problem.  I usually work in AEA settings where the paid crew only come aboard for Tech, a week or two before the production opens.  Before they join us, my ASM(s) and I, sometimes also the actors and AD, occasionally even the director, will jump up and scurry around to approximate the set change, knowing we will have more hands to accomplish it during the run.  Is it possible for this to happen in your situation?  You could plot out the set change planning for a full crew, but not have them in rehearsals until much closer to the opening?  Maybe there are ways to incorporate actors into the set changes so you aren’t totally reliant on so many crew members.  If actors could at least cover some prop movements, it might mean you need fewer hands. Perhaps you could consolidate the number of hours for which you need the crew on each rehearsal night, or only work with the crew one or two days each rehearsal week, if that would improve attendance.

If you really must have all the crew at all the rehearsals at this point in the process, I’d try emphasizing the “team sport” aspect of theater to motivate them.  Talk about how everyone on the crew depends on each other to execute the changes efficiently, and the cast relies on the crew to make the shift happen so they can focus on their performance.  Remind them that, just like with a sport, the crew needs to practice together repeatedly to learn their moves. 

126

The Green Room / Re: how to deal with the a biology major turn into a SM

« on: Jan 14, 2010, 05:10 pm »

Many of us reach a point in our educational experience or career where we are paired with someone who does things in a way we would never consider doing them.   As others have said, I wouldn’t worry so much about what her major was, or how you can, from your perspective, improve her skill set. Instead, I would choose my battles and be very specific about why something is problematic, and how and why you would suggest solving it. 

For calling cues, you could say something like “I want to make sure we’re on the same page about when I should take my cues.  Can you talk to me about how you are going to call them, so I can make sure I am ready?”  Then see if you can discuss a consistent phrasing of some sort, even if it doesn’t involve the word GO.  Sometimes being a little self-depreciating will help the other person be less defensive and more willing make an adjustment.

It may be that she really is a lousy stage manager, but dwelling on that fact isn’t going to help the production.  Perhaps if you make an honest effort to find things you like about her personally (she makes great coffee or has amazing taste in shoes), that will help you get through the frustration of not agreeing with how she stage manages, and make the process more pleasant for both of you.

127

The Hardline / Re: Half Hour Call

« on: Jan 05, 2010, 06:43 pm »

I also love this puzzler.

Okay, it's tech.

Actors are called for a 12:00n Half-Hour Call, and then you start on stage at 12:30p to work (NOT RUN).  When is the first AEA break due?

AEA members would still need a break by 1:20pm, because the rules are about having breaks at regular intervals whenever the actors are called, it’s not dependent on what we are doing during the call.  Getting costumed is work, not a break, even though directors don’t always like to see it this way.  When I'm in this situation, I usually try to have a quick 5 minute break at 12:30, or even 12:25 if it’s the kind of show where really everyone is ready by then.  That way we can work onstage for 80 minutes straight.

128

The Hardline / Re: AEA Break Question

« on: Dec 29, 2009, 05:55 am »

Another Equity Break question - both actors and directors seem to think there's an Equity rule that you don't have to worry about stopping after 1 hr 20 minutes if you're in the middle of a runthrough. 

I was in this situation with a 90 minute, intermission-free play, SPT contract, director and actors wanted to run straight through.  I called Equity and was told it “was a given” that yes, we could do a run-through without taking the break at 80 minutes, as long as it was really a straight run.  As VSM said, if the director interrupts, we break.  I wish they would clarify this in the book, it really opens the door to a lot of other "givens". 

129

Stage Management: Other / Cheat Sheet of Dance Terms for SMs

« on: Dec 28, 2009, 05:03 pm »

What are some dance moves/terms that SMs should know?   Any books or websites you would recommend as a reference for dance terms?

I recently worked on my first dance shows, and was able to call and follow the show based on what I heard, or my own description of specific moves, but I was thinking it might be useful in the future to know the difference between a jete and sahshay…and probably how to spell  them, too!   

130

Stage Management: Plays & Musicals / Re: PEOPLE: obnoxious crew member

« on: Dec 20, 2009, 09:18 pm »

Dealing with theater people who don’t “get it” about showing up on time, every time, can be really frustrating.   I’ve been in that situation, and sometimes you just can’t change people’s attitudes, the best you can do is lead by example as far as professionalism.  The kindest thing I can think of about your PA is that she was truly horrified by being so late, and was beating herself up already,  got defensive when you called her on it (not that you didn’t have a right to be upset!), and is already wishing she’d handled the whole thing differently. 

Since the producer rolled her eyes when you discussed this, this may be an issue they’ve had with her before, but it’s worth clarifying that, and asking what steps can be taken if this is an ongoing issue.  Every theater has a different hierarchy, so I can’t speak to whether you were or were not considered her supervisor.  It seems like that is something you, the PSM, crew manager, and producer might want to discuss as well, plus talking about who should deal with similar issues in the future.  If you were the third person that night to reprimand her, I can see how she might be less reasonable by the time you talked with her.  Did this conversation happen during the show, or after curtain?  If it was backstage during the show, she might have been trying to focus on the show by then, and caught off guard when you brought up the lateness then.

One alternate response to her when she got defensive might have been to go in another direction, and tell her that her lateness effects the entire team, since her duties need to be redistributed.  I know it’s easier said than done, but try to stay cool and not take her bait by getting into argument while everyone is still upset by the lateness, it just won’t be productive if your goal is to get her to regret and not repeat her behavior.   Approaching her at first with concern, as you would an actor who is late, and then in a way that tells her she’s a valuable team member, and you need her to do her part each night, just might get her to be more conscientious in the future.   

131

Stage Management: Plays & Musicals / Re: How do you do your reports?

« on: Dec 20, 2009, 12:55 pm »

I usually have a spiral notebook or clipboard near my call book that I jot notes in as the show is running.    If a note-worthy event occurs when I’m calling cues or otherwise too busy to write, I’ll just put a small post-it near it on the script, sticking off the edge of the page so I can find it again later.  The act of writing something down tends to help me remember it, so I can interpret my notes later even with abbreviations/misspellings, etc.  I’ve never run shows with my computer open nearby, so I’ll take my notes to the computer after the show to put in my report.  During rehearsals, however, I do roughly write the report on my computer as notes occur.

I usually put “ShowName Performance Report Day Date (Matinee or Evening)” in the subject line.  I think it is helpful to have the show name in the subject for designers who work on multiple shows.  I always paste the report into the body of the email; graphics don’t transfer well this way, but it helps for people reading reports from phones or in a hurry.  Whether I also attach the report or not depends on the show.  I don’t think many people need the report as an attachment, but it has been helpful for me to have the actual document in my email when I’ve had computer issues.  I’ve rarely worked in theaters where we printed the report for posting, but occasionally I’ll print rehearsal reports for myself or the director or someone else.

132

Stage Management: Plays & Musicals / Re: COMMUNICATION: Describing Audience Reactions in Performance Reports

« on: Dec 17, 2009, 12:10 am »

I tend to cycle through good/solid/high-energy/low-energy/quiet/fine/excellent/great/fast-paced performance; I guess you could use some of those phrases to describe the audience, too.  I basically guess the mood of the audience from their laughs and vocalizations, occasionally I’m in a thrust theater where I can actually see their faces to judge that way too. I often have some note about audience reaction, especially for curtain call, and when something unusual happens (distinctive laugh/sleeping in the front row/random applause), but I’m surprised that you are actually required to put it there.   Hopefully the producer realizes that you can only report your estimation of the audience response; that your main job is calling the show, so you can’t always monitor or note what’s happening in the house.  Plus, reactions from the house don’t always reflect the quality of the performance.  I’ve had houses that don’t laugh at anything in a funny play, but say that it was hilarious in the post-show talk, and nights when an actor was just going through the motions, but the crowd went wild anyway.  I guess if your audience is giving the same reaction, it's ok to give the same description of it. 

133

Stage Management: Plays & Musicals / Re: PEOPLE: Dear Abby: Trouble with Managing an ASM

« on: Dec 15, 2009, 03:09 pm »

I would approach this as a discussion, assuming there is a miscommunication or legitimate change at the root of this, and sit down with the ASM outside of regular rehearsal/running to talk through the backstage track.  I’d stay away from telling the ASM that you “really want the job done the way you did it.”  Instead, focus on the fact that each task needs to be done, ask questions about what the challenges are, and really listen to the ASMs answers.  It is possible the ASM could have an equally good, but different, way of doing things, and I’d be open to their methods as long as they get the job done, since many different SM styles can be successful. 

 If they have your old run sheet, make sure the notes are clear to the ASM, and be very specific, even if you feel like you already did this or they should have asked about questions sooner.  If they’ve made their own run sheet, maybe you can compare it with the old one and explain how, exactly, you were able to manage it all on time in the past.  If there is no run sheet at all, that may be the root of the problem, and I’d help the ASM make one.  Also, even though it’s the same show every year, sometimes tiny changes do happen, and make a big difference.  Maybe there are different actors or crew, or an actor isn’t feeling well this year so their pace has changed, effecting the ASM.  Maybe sets or costumes have become worn-out after years of use and are causing problems.  If the ASM is defensive, realize they may just be nervous as the show is new to them, and it’s hard to be The New Kid.  If that’s the case, do what you can to reassure and support them, while making it clear that certain tasks need to be done, and doing them will get easier with practice.  If you have some of the same actors as last year, and have good relationship with them, maybe you can discreetly ask one or two if things are running smoothly for them backstage (don't mention the ASM, but see if they bring him/her up), and if the answer is yes, at least you can feel reassured on that front.

How-much-is-too-much really varies by show.  In this case, since you’re not asking the ASM to do anything you haven’t done yourself, I guess the answer is it is not too much in this case.  But also try to remember the first time you did the show, and whether things seemed easy or overwhelming to you then. 

134

Employment / Re: Mingling With Other Departments

« on: Dec 15, 2009, 12:56 am »

I’ve occasionally run sound & light boards, follow spots, and PA’ed events .   I definitely know SMs who “moonlight” in other theater jobs regularly, like box office, house managing, light-hangs, load-ins/strikes.  If you have the talent (or just tolerance and a need for extra cash), it’s a great idea to explore those areas.  For myself, I’ve found that stage management is the only thing that really suits me, so I’ve stuck with my strength, but I wish I was more multi-talented!

135

The Green Room / Video of an SM at Work from "In The Wings"

« on: Dec 07, 2009, 07:05 pm »

If you're still trying to explain your job to your family when you're home for the holidays, this may help.  It's a short video showing an SM at work, and explaining her role in a production.
http://americantheatrewing.org/inthewings/detail/stage_manager