Messages

1246

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Managers in rehearsal?

« on: Dec 16, 2010, 09:49 am »

Not to get into an argument, but I don't agree with this/want to create an inaccurate image.  I've worked on a number of commercial pieces and yes, there are random people who pop into rehearsal, but often those people have actual business to be there.

I am not saying this is the norm - nor should it be, but it is not uncommon.  Especailly when a show is doing runs at the theatre (correct me if I am wrong, but this wasn't a rehearsal hall location, this was a late in the tech process run.) 

If it hasn't happened on your shows then great.  (I have to say, like the article, most of the time these issues came in to play are with the non-theater people who are working on the (think TV/Film Actors who are "slumming" in the theatre, and mostly for runs or presentation of new work . . . ).  I don't think it should be allowed as I think the rehearsal process should be a safe and sane environment.   But, I think at this point in the process, is when these various people start showing up to see runs - publicity, press agents, group sales managers, etc, etc . . . Sometimes you can look around the house at one of these tech runs and feel like you are doing the show for a full audience.

As far as would as if I allow guests in the rehearsal - if it was up to me, nope, never.  I think the rehearsal hall should remain safe and not be open to scrutiny.  Once we are doing runs in the theatre, I am much open to having people watch at that point.

1247

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Managers in rehearsal?

« on: Dec 16, 2010, 12:22 am »

Theatre rehearsals are so different from a film set- there aren't a lot of people just hanging out in the rehearsal room watching the process like on a film shoot.

 

Although, you would be surprised in commercial theatre how many people "hang out" in rehearsal - producers, second assistant designers, composer's boyfriend, lead's husband ,lead's physical therapist, director's mistress, the playwright's agent, the playwright's agent's niece who wants to get into theater . . . trust me, when there is a lot of money being tossed around, a lot of people feel they have a right to be closer to the action - and although the director can probably say no or yes to visitors, eventually, in my experience, they will feel worn down, and start letting people in.  Hell, you even get to have press in the rehearsal room at times . . . that's always fun.

And again, I would throw it out there - that all of these press releases are probably coordinated by a highly paid press department (or at least a very savvy press agent).  I have to say, that often what is in the press release often does not have any bearing on reality.  I have been apart of a meeting where a press release was being formed where the words "What story do you think is most believable?", and the press release was written by committee by a group of people who had no or little idea of what the truth was actually surrounding the event.  (And when some of us found out the truth, none of us believed it.)  All I fought for was to make sure that my staff or my technical theatre staff was not thrown under the bus.  (Most of us know that often, if a show is not ready artistically - often the press release will say "there are tech issues".)

Press is about spinning.  I wouldn't be surprise if the actually events that transpired were more extreme then the press release version, and everything that went out to the press was approved by all parties concerned. 

1248

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Managers in rehearsal?

« on: Dec 15, 2010, 07:22 pm »

This was pretty late in the process, perhaps a tech run.

If agents or managers did have a request to see their client's work - and if they are high enough profile - they manager/agent may want to see what work is being done - although that does not seem to be the issue here.  It seems more to be about a over bearing father/agent being overly protective. 

I have had agents/managers request to be on rehearsal and performances reports, see the show either in tech or early previews (sometimes a rehearsal room run), and give written notes to the director.  At the end of the day, they are trying to protect their client, and if their client is high profile enough, they may get more chances to give their input.  This is rare, but it happens - and mostly happens with film/television actors who are dipping their toes in theater.  I have to say, although not ideal, I rarely get a choice in the matter.

1249

Stage Management: Other / Re: Transferring into Opera

« on: Dec 09, 2010, 10:25 pm »

Difference number 1: Opera is quirkier than theatre. 

And that my friend's is the t-shirt quote.

1250

Tools of the Trade / Re: Gifts!

« on: Dec 09, 2010, 07:05 pm »

What I really want for xmas/hanukah/kwanzaa/ramadan is (besides the basics - peace on earth, good will to all, dialogue not diatribe etc) is a freakin' LORT B or higher gig - maybe even production contact (I would love to break that cherry...) -

Me too (except, please give me some time off in early February . . . )

1251

The Green Room / United States of Artists

« on: Dec 07, 2010, 09:51 am »

Micro Financing seems to be the new wave.  A Broadway musical is being financed this way, but here was an interesting web site that came across my desk - which seems to be about financing specific works of art.

Might be an interesting way for art to raise funds in the future.


http://www.unitedstatesartists.org/

1252

Students and Novice Stage Managers / Re: BFA SM Students or Students who entered college knowing they wanted to be a SM

« on: Dec 05, 2010, 01:48 am »

Okay . . . here's the next step.

Looking to talk  someone who made the decision in high school (prior to college) to enter a BFA or specialize in Stage Management while inside the university setting, but currently should be a couple of years outside of school - and has made the decision not to be a stage manager or not to work in theatre at all.

I know, I am looking for the answers in a Stage Management forum.

1253

Students and Novice Stage Managers / Re: BFA SM Students or Students who entered college knowing they wanted to be a SM

« on: Dec 02, 2010, 01:29 am »

Hey thanks for the response.

Now that I have asked a couple of people questions, let me modify who I would like to ask questions.  Please private me with a response if you are interested.

Looking to talk  someone who made the decision in high school (prior to college) to enter a BFA or specialize in Stage Management while inside the university setting, but currently should be a couple of years outside of school - working as stage manager or not.

I think that should me get the insight I am looking for (pre-college, college and post-college perspectives).

Thanks aging.  Shoot me a private if I have not privated you questions yet.  Thanks.

1254

Students and Novice Stage Managers / Re: BFA SM Students or Students who entered college knowing they wanted to be a SM

« on: Nov 27, 2010, 11:46 pm »

Thanks for the response thus far, the answers have been very informative.  I look forward to my conversations continuing. 

1255

Students and Novice Stage Managers / BFA SM Students or Students who entered college knowing they wanted to be a SM

« on: Nov 26, 2010, 11:44 pm »

So, in a series of conversations with stage managers, I realized there are those who picked this career and pursued it and those who sort of fell into it.  I don't think there is any right way to get into this business.

I, for personal and professional reasons, would like to find a couple of students who are currently in a BFA program or BA program, but knew they wanted to Stage Manager in the last years of high schools.  I want to ask some questions to help open my mind a bit.

It would be sort of a casual, informative on-line conversation.

1256

The Hardline / Re: SPT SM Overtime Tech Week

« on: Nov 19, 2010, 11:45 pm »

True, previous stage managers may not have billed for it . . . but you are most likely due the overtime - but it still needs to be approved by the producers.  So, you may be put into a position where they will do tech notes without you, or you can stay without pay.  That's just frugal producers, putting the bottom line before what is probably in the show's best interest.  (Can you imagine a tech notes stage management without a stage management presence?)

Sigh.

1257

The Hardline / Re: SPT SM Overtime Tech Week

« on: Nov 19, 2010, 03:34 pm »

I remember on the SPT that anytime you were at the theatre (meetings, tech, whatever) was all counting towards the hours . . .

1258

Students and Novice Stage Managers / Re: Bad Behavior?

« on: Nov 17, 2010, 06:45 pm »

I would think twice about getting multiple people to sign off on something.

Just imagine, you approach someone to sign the document, but even with his bad behavior, that person aligns with misbehaving actor . . . it can lead to a very awkward situation.

If you want collaboration, have a meeting with the faculty member and everyone else involved sans that actor in question to discuss the issue, and then allow the faculty member to make a decision on what to do next.  This way, the issues are brought out as a group all at once.

1259

The Green Room / Re: Rehearsals are Like Relationships

« on: Nov 15, 2010, 02:23 pm »

"The One Night Stand" - that event you did that may have been flashy or just awkward, but was over almost as soon as it began.

1260

The Green Room / Re: The evolution of a scene

« on: Nov 15, 2010, 02:22 pm »

Well, I am sure you have noted the show as the scene has evolved - and the cast is not really taking your notes seriously.  (Or maybe, as often this subtle changes happen, we don't notice the very small changes until it adds up to one big change - the flipbook effect if how I describe it).

But ultimately, the director came in and the director signed off on it.  So, the changes now seem to have found their way into your production.

I always pull the line "belittling the rehearsal process" for these post-opening changes.  A line reading is one thing, but changing a scene and it's intent is a major thing - especially without the benefit of rehearsal.  It seems very selfish on behalf of that particular group of actors.  The other actors didn't get rehearsal time to work out their responses to playing opposite the now violent scenes - and the actors, flat out, may not feel comfortable being a part of that world.  If this intent for the scene was brought up during the rehearsal process, it could have been worked out in a safe, sane and controlled environment - where an actor would be able to explore their feelings and find some sort of safety - or express their concerns and have their director answer them in a safe, sane and controlled manner. 

When an actor makes a change, it effects the entire show, and will effect the other actor performances.  If the intensity of a serious scenes is ramped up right before a comedic scene, well now the comedic scenes need to be altered to balance the scene right before it - and then the next seen is going to be effected.  It snowballs rather quickly.

As far as it being a gift, it's a little late to bring that gift to the show - and for many it's an unwelcomed gift.   Hopefully the cast can respect the wishes of the LEAST comfortable person and adjust the show back to the way it was rehearsed, rather then changing it for their own needs.

I can't wait to hear the outcome.