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Messages - On_Headset

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121
Tape vs. tape? You're a cruel, cruel woman.

(Why am I here, what just happened, and why am I holding half a baby?)

122
Some days I just want to hammer stuff. BANG. BANG. BANG. BANG.

I never feel the same way about my highlighter. ("Squinch. Squinch. Squinch. Squinch."?)

123
All library and archival facilities will be "done" once a year by a qualified person. They will dispose of any materials which are no longer relevant (do we really need seven copies of the 1979 operating budget?), organize and sort the rest, ensure that the system of storage is neat and accessible, and make recommendations for improving the facility. (i.e: "If you can't get rid of any of this stuff, you're already over capacity for a room of this size: either find a second room, or get an off-site storage facility for the items you only access on an irregular basis.)
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1- Please make all of the folding tables & event chairs stable and easy to store, transport, and stack, and most importantly, LIGHT WEIGHT.
And please make all of the folding tables the same size. (Or at least compatible sizes. Or store the different sizes in different storage rooms. Or something.)

124
The sound you hear is hundreds of stage managers reflexively reaching for their cellphones, just to make sure they're still there.

Just in case.

125
In fifteen years none of us will be using stopwatches, with very few exceptions. (I'm thinking a few handfuls of old-old old school SMs and a few hundred of those people who work in community theatre and have always used a stopwatch and nobody's going to tell them otherwise, so *huff huff fume indignance huff*.) In rehearsal you'll use your smartphone, and for performances it will be integrated into the digital show control system. (I've worked in venues where it already is.)

In fifteen years, your com will still have a call button, and it will still be useful.

Advantage: call button.

126
I will do *anything* to get myself around having to use glow tape. It's the worst of all possible worlds: it doesn't go flush to the surface (an annoyance rather than a fatal flaw, but what an annoyance), it's so expensive you can only justify using tiny slivers (even when you really need a big 'ol chunk), it peels off (either on its own or with the assistance of a bored actor with bigger thumbnails than brains), and there are so many more important things ASMs could be doing at preshow other than wandering around the stage with a flashlight.

Whenever possible:
- Glow paint (at least this way I can use as much as I like without breaking the bank--and I can bring in patterns: hazard stripes, dots, lettering and symbols [painted on with the brush from a nail polish bottle], etc.)
- LED throwies (expensive [$0.20-1.00 per throwie], but they attach to anything metallic (or you can make them without the magnet and tape them to anything that takes tape), they're removeable and reuseable, they never need to be charged, and you can get all kinds of different colours.)

Conversely, paper?

Could not work without paper. Would not work without paper. (You're giving me a contract without issuing a paper copy? No thanks.)

127
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I'm not sure you're talking about using a scale stick in the way it's meant to be used though.
But that's the point: you don't scale metric. So long as I'm working with plans which provide measures in metric, I'm golden.

128
Ah, but I've solved the scale rule problem by using metric as much as possible. (Most of my work is either to a house setup or in an experimental space where we never use sets more complicated than risers and pre-built flats. Easy peasy, don't even need a tape measure.)

If I need a conversion to imperial, I can whip out a cellphone and do it in five seconds flat, and metric units never need to be converted--eliminating 99% of the purpose of a scale rule.

Edit: I do happen to live in a metric country, mind you.

129
If you can get someone's hand into the mix, you could try cutting a hole in the bottom and holding it shut with a drawstring. The bag would remain essentially intact (no gaping hole in the bottom), you can open and close the bottom from below without creating any noise (and with minimal visual disruption), and unlike a zipper it won't catch or get jammed on you.

130
I have met a number of stage managers who can work without post-it notes.

I have never met an acting company who I would trust to consistently hit their marks without spike tape. (Never mind staircases, danger warnings, etc.) Some actors don't require spikes (and I definitely understand the perils of decking a stage out like an airport runway), but there's a critical mass who don't seem able to function without spikes.

Never mind the essential spikes for resets, prop placement, and other recovery efforts.

Advantage: spike tape.

131
More importantly, would you trust your actors with a tool more complicated than a pencil?

Unsharpened, of course. And with the eraser removed, just in case.

132
The Green Room / Re: ARTICLE: NY TIMES saying no to college
« on: Dec 05, 2012, 03:10 pm »
I'm currently working for the university where I scored my BFA, and the faculty break room has a series of lists with a list: every graduate of the undergrad program for the last decade. Any time a member of staff or faculty hears about a posting attained by a former student, we're encouraged to go to this list and add it.

So,  like:

John Doe, Tech/Prod '06, Asst. Production Manager at the Major And Important Centre for the Arts
Mary Sunshine, Script/Crit '07, Freelancer for Alt-Weekly Magazine
Jennifer Sweatpants, Devised '09, pursuing MFA at U Chicago

This list is then compiled and used internally for promotion, to find possible mentors for current students, for departmental records, etc.

The catch: those examples make it sound kind of promising and exciting, but it actually looks more like this.

John Doe, Tech/Prod '06, Unknown
John Doe, Acting '06, Unknown
John Doe, Devised '06, Unknown
John Doe, Acting '06, Acting coach (private practice)
John Doe, Design '06, Associate Designer at Local Summerstock Festival
John Doe, Script/Crit '06, English teacher
John Doe, Acting '06, Unknown
John Doe, Devised '06, Unknown
John Doe, Devised '06, Fringe show (2010)
John Doe, Tech/Prod '06, IATSE
John Doe, Conservatory '06, Unknown
John Doe, Tech/Prod '06, Unknown
John Doe, Design '06, Unknown
John Doe, Acting '06, Unknown
John Doe, Devised '06, Unknown

Now, context: it's absolutely true that theatre is often an impossibly tough nut to crack. All kinds of talented people show up and do all the right things and just don't make it for any number of perfectly sensible and perfectly ridiculous reasons.

But the problem I would identify is, well. Two worst-case scenarios.

Student A: You try to break into acting. You fail. So you go and do something else with your life.

Student B: You attend a High School for the Performing Arts, then you advance to a BFA program in Acting, where you spend ~$40,000 across four years, all of it as student loans. Then you try to make it in the Real World. You fail.

But you keep at it. You hire an Acting Coach. You spend hundreds of dollars to get better headshots. You work in menial jobs to pay rent. You occasionally get thrown a part, but you never advance higher than "Man with Moustache" or "Harem Girl (Non-Speaking)". After 5-6 years of stretching yourself, you get fed up and leave the industry and go do something else with your life.

But... you can't.

Because you're carrying that $40,000 in student debt, you'll never get financing for another degree. And even if you could, your education--that HS for the Performing Arts had you do the barest minimum possible in math and science--would only qualify you for programs in the Fine & Liberal Arts. (In fact, you aren't even qualified to enter many community college programs. You were hoping to do accounting without calculus, or social work without even the slightest background in statistics? Psychology without a background in biology? Not happening.) Somehow it seems unlikely that slapping four years of Creative Writing or Philosophy on top of your BFA will make you more employable.

But unless you buff up your qualifications, what are you going to do? You're basically only qualified to either wait tables or perform on stage, and since nobody is paying you to perform... And, anyhow, how do you combine these talents? Is your dream job really joining the waitstaff of a dinner theatre?

---

It's very poetic to talk about "better to have loved and lost", but somehow I think the latter person would, in retrospect, have happily slipped a little more general education into their High School and University experiences, rather than utterly binding themselves to an industry that simply had no use for them.

133
Yes, but velcro holds things together, while headsets tear apart friendships, marriages, careers and delusions of grandeur.

134
I always wondered how ticked off Chris Rock would make local houses when he threw their mics to the ground at the end of his sets.
Ticked off? If I had a sold-out Chris Rock show through my venue, I wouldn't be ticked off, I'd be planning to replace that microphone later.

In fact, all of my microphones.

And most of the lights.

And we probably need a new portable mixing board.

And there are a few locks that need changing.

And we really need a few more intelligent lights for the studio space.

And we'd still have enough left over to take the crew for beer and pizza.

Losing a microphone? I'll cope. :P

135
An interesting article over on HuffPo.

Summary: American theatre is, at this point, largely New York-centric. Once you rise above a certain level, you have to work in New York: the only way you get to headline major commercial shows in much of the country is to either travel with a touring company or become famous as "Jane Doe, star of Broadway's Transparent Vehicle for the Best Actress Tony" and then return to the local stage. There are a few exceptional pockets, but they're small and shrinking. (Arguably just Chicago.)

And that's bad. (Or so Walters argues.)

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riotous