Messages

121

Stage Management: Other / Quesitons Needed for a stage management workshop

« on: Dec 01, 2008, 01:44 pm »

Hi, all -

I am visiting a college class this week as a guest stage manager.  This is at a university I was a (co)keynote speaker for last February for a one night stage management workshop.  This classroom visit is a followup to that workshop. I am compiling a concise "starter book" of very basic stage management info. the workshop last Feb. detailed.

I would like to visit the classroom now with more of a discussion/question and answer sort of thing.

What would be, to you, good topic starters to get the students to ask questions and get them more engaged?

Ideas?

122

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

« on: Nov 25, 2008, 12:40 am »

I was surprised when I found out the SM did NOT call cues for the show.  Board operators are expected to do it themselves.  (and the SM's prompt book didn't have the cues, let alone a sensible system for anything else, as I discovered when she didn't show up till around intermission one show)

Yea community theatre. 

Yikes! Sorry to hear your community theatre experience was this way.  I'm from Grand Rapids, Michigan.  We have a very strong technical theatre community here and this has never been the case.

What in the world did you DO during the show?!

123

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

« on: Nov 21, 2008, 10:34 am »

When I first started stage managing (at community theatre level), I didn't know it was the stage manager's responsibility to tape down a rehearsal floor for the scenic floorplan. Previously, directors or designers had simply done it. I was hired by a company that expected this of the stage manager and instead of saying I had never done it before, I talked with the TD to get this explained to me. (He was a good friend of mine and knew my background, which is why it didn't come as a surprise that I hadn't done it previously).

This is still one of my least favorite things to do, though the concept is fairly simple. When I co-chaired a stage management workshop last year, it was one area we really made a point to explain and instruct on.  It is also one of the tasks I make an effort to do myself (with my assistant) rather than insist on directors/designers or anyone else who is used to doing so (in certain companies, locally).  That way I can get better at it!

124

SMNetwork Archives / Re: Just neet to vent...

« on: Nov 20, 2008, 01:39 pm »

Yes, I understand. I do, about just needing to hear something, etc.

I mean, that's why I go to certain friends over others when I have an issue. I know what reactions I want to hear versus what I might get.

Best to you.

125

SMNetwork Archives / Re: Just neet to vent...

« on: Nov 19, 2008, 11:11 pm »

I don't see the problem. You certainly got your compassion, but you also have personalities and professionals on this website who might understand the frustration, but will point out the nature of the job.

For myself, I am actually less familiar with working in NYC or how certain houses, contracts, and Equity works.  I appreciate the different points of view. The more experienced on this forum recognize your situation, but have to point these issues out, because the less experienced in those situations appreciate knowing how it really is.

You explained further the issue. It is frustrating.  I agree.  I don't know that a sarcastic response was necessary to the feedback though. 

I'm well aware of what the rules are, but thanks everyone who felt the need to point them out and make me feel worse.

What I was looking for was some simple compassion. Perhaps a 'That stinks. It's happened to me before, and such is the way of theatre in this city.' Not a lecture.

The point I was making was that I was wanted on this production, and the director, production manager and SM were willing to work around the conflict. I had a sub lined up. The SM has a conflict with 2 days of rehearsal and they were allowing that. This particular company takes Mondays off as their standard, but it was at the director's insistence that they change it to Sundays, so he was will to make the compromise. He was also going to allow actors out for auditions on Mondays. I have personally never worked a show in NYC with a Sunday off, contract or not. I have actually never worked a show regionally with a Sunday off either. It was a decision that was made over their heads, and came as a surprise to all of the people who were OK with the adjustment.

Shit happens, people lose jobs, people don't get the jobs that they were hoping for, and I am very well aware of the reality of living and working in NY theartre. I understand completely that it's a big world out there, full of competition, but if we can't be supportive and empathetic of one another in this forum, what's the point of talking to one another? That's all I was looking for.

126

College and Graduate Studies / Re: Stage Management Colleges

« on: Nov 16, 2008, 09:57 pm »

I think Yale requires the GRE.

Yes! I think this was the one.

Is it worth taking the GRE for the limited number of schools that require them? I suppose it's always "worth it" to take these exams, but I don't want to waste my money if not necessary.

127

College and Graduate Studies / Re: Stage Management Colleges

« on: Nov 16, 2008, 12:06 pm »

Hi, again -

In my college search, I've found a plethora of wonderful sounding programs. I came across one, but can't find it now, that required a GRE.  Now going back and trying to find that school...all my searches come up with "no longer require" and "don't requrie".... is there one school out there that does require it? Even if one school requires it, I will take the test. But if it is truly not required, is it worth it to take the test?


Apologies if this has been covered. It seems impossible to search for "gre" on the forum. So many words with the letters "gre" come up rather than the topic of Graduate Record Examination. Ha.

128

Stage Management: Plays & Musicals / Re: Hell Week...?

« on: Nov 16, 2008, 10:20 am »

I come from the same community theatre background as BalletPSM and it is normal to use the term Hell Sunday (and Hell Week). However, I have learned also to explain to my cast in a comforting an easy going way, "This week has been called 'hell week' in the past, and, yes, it is challenging but..." and go on to explain that we all need to be patient, and work together, and that it actually can be an exciting week as the show comes together. (And honestly, as stage manager's, isn't it both stressful and exciting for us anyway, as the show transitions from director to stage manager in terms of control and management?)

Something like this, of course, but yes...I've heard this term before.

129

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

« on: Nov 16, 2008, 09:59 am »

I am glad you clarified this! I almost answered with the calls I make with 1 hour, half hour, places, etc etc.

 

130

Employment / Re: Resume - special circumstances

« on: Nov 14, 2008, 01:49 pm »

Try listing these things under "SKILLS" or "OTHER"
I am a teaching artist, I mentor stage mangers in high school and college.  It's listed under "SKILLS" because employers do read that as well as your credits.

Ah, yes. Thank you.

What about the job that I am STILL hired to stage manage for, but train while I do so?  Has anyone been in this situation before?  I don't doubt someone else has.

131

Employment / Resume - special circumstances

« on: Nov 11, 2008, 03:32 pm »

Hi, all.

*Apologies beforehand if I haven't posted this in the correct category*

I have a couple of special circumstances that I don't know how to list on my resume:

1) Being a key-note speaker for a stage management workshop (I believe I've currently listed this under Job Related Experience, or something similiar)

2) Being hired to instruct a novice class on stage management (just providing the very basic tools for a school that doesn't have a SM program, but wanted members of the community to offer the best advice)

3)  Being actually hired as a stage manager (easy to credit and list right there). However, being hired by a university for one show as a stage manager MENTOR.  In this capacity, I am working with a student assistant, who is not only assisting me, but getting hands on training with how I've worked as a stage manager. We work side by side, versus having her just assist.

How would one credit these experiences? They are all stage management related, but I would like to stress that they are unique in that they are either for workshops, classrooms, or mentorships (while still doing my job as SM). 

Any thoughts? 

132

Employment / Re: Resume question--current show

« on: Nov 11, 2008, 02:34 pm »

I always find my rule of thumb is once I sign the contract to add it to my resume . . . currently right now I have four shows on my resume that I haven't start rehearsal - I put the season and the year next to it (spring, 09) for example.

This can be done?! I was advised not to do this.  I suppose, however, it does make sense if one is already contracted.

Thanks!

133

Students and Novice Stage Managers / Re: Graduate School: how soon to apply

« on: Oct 12, 2008, 02:31 pm »

When I applied to graduate school last year a lot of people told me that I would have a slim chance of being accepted because I was applying right out of undergrad. I decided to apply anyways and was accepted to 5 programs including my first choice. So I'd say, apply whenever you want as long as you are confident in yourself.

Wonderful to know! thanks!

134

Stage Management: Plays & Musicals / Re: When to give an actor a note...

« on: Aug 09, 2008, 08:35 am »

Smoke on the Mountain, Homecoming is long enough without too many ad-libs!!!  Have you tried explaining that the timing of the show needs to be within reason each performance?  Did you and the director establish your authority during rehearsals and that the director backs your authority for the run?  How about having the artistic director watch the show if it's getting out of hand? This person is very influential in whether an actor is invited back to perform in future productions.
Good luck!!

The ad-libbing wasn't a problem during rehearsals because we'd spent so much time on music that the actors weren't expected to be (and therefore weren't) off-book until just before tech. I may ask our director for some backing, he's been sick and hasn't been in for a run in a while. As far as the artistic director goes, let's just say that that probably wouldn't be particularly helpful. She views the individual creative process of an actor as something sacred, and when she's in a show you cannot give notes to anyone because she will change a scene every night all the way to closing.

Agh, the joys of a resident company where nobody's in danger of being fired! lol

I feel like your artistic director doesn't "get it" anymore than certain members of your cast. And it's difficult when people in those sort of positions also sort of "break the rules," if you will. I was in a similar situation. I had someone in my cast who was involved with the theatre I worked for, and this person was constantly disrespectful of the process in a way that was frustrating for me as a stage manager.

Good luck.

135

Stage Management: Plays & Musicals / Re: When to give an actor a note...

« on: Aug 08, 2008, 01:32 am »

With certain (community) theatres I have worked with in town, I've had the opportunity to act as Assistant Director (in the absence of a AD, the stage manager has that dual function. It's actually very cool). In these productions, I've never had trouble giving a note to an actor because I've already been providing that sort of feedback.

However, when I am not acting as dual AD/SM, I am only stage managing. Part of a stage manager's responsibility, in my understanding,...at least how I've been taught to function as a SM, is to make sure the show runs consistently each night, once the director has completed his/her role.

A good approach I find that has worked, is to remind the cast of a few things:
In the interest of keeping the show consistent, though they get comfortable in their characters, to severely limit creative addition, and keep the show the one rehearsed in rehearsals and staged by the director.

Changes not only throw off fellow performers, but the cues as well (sound effects, lighting, set movement also go off a consistent performance).  Some performers (as a gross generalization, as I've worked with many very considerate and well aware actors) tend to forget that the show is not simply just them onstage doing their thing: but it's all these other technical and creative elements that are not considered when they decide to make a change, because they simply feel like it.

I know what it's like to deal with stubborn performers. I am dealing with a whole cast of stubborn performers. It's not easy but stick to your guns! 

Best to you.