Messages

136

Stage Management: Plays & Musicals / Re: Require cast to have an email?

« on: Oct 21, 2009, 02:17 pm »

Maybe I am beginning to show my age, but isn't a physical callboard still part of standard operating procedure?  Or is it beginning to go the way of the Dodos as well...

Every show I have done (as SM) has a callboard even if I tape a section of a wall off in the dressing room/greenroom or backstage by the stage door and designate this as the "callboard".

137

The Hardline / Re: Script rewrites

« on: Oct 17, 2009, 12:11 pm »

Last time I worked a show where script changes/rewrites had to be done, the playwright was responsible--this was a "playwrites series".  If that's not possible, is there a PA or administrative department that can type up changes and you as SM distribute them?
Physical script changes seem to be out of the realm of SM duties (in my opinion)---not to be confused with tracking and keeping up with changes; but actually re-typing/reformatting...I'd have an issue with that.

138

Stage Management: Plays & Musicals / Re: Offshoot from Are you always completely honest?

« on: Oct 14, 2009, 04:59 pm »

absolutely.  why should I not be held to the same standard as everyone else?

Ditto for me!!!

139

Stage Management: Plays & Musicals / Re: Are you always completely honest?

« on: Oct 10, 2009, 03:30 pm »

If the action/line etc. catches your attention as the SM, then it belongs in the report.  I agree that as SM you can follow up the note with: " and here's how we took care of the issue..."  to let the producer know it's been handled.

140

Stage Management: Plays & Musicals / RUNNING: Electronic interuptions during a performance

« on: Sep 30, 2009, 12:27 pm »

I've been an audience member when a phone went off in an elderly lady's purse and she couldn't hear it.  The actors kept going and an usher finally got to the lady and asked if he could remove her purse from the house. She thankfully allowed the purse and usher to leave the auditorium.

Has anyone read or seen this video of a Broadway play interupted and what the actors did?

Here's a link to the video of Jackman and Craig in A Steady Rain

 Link removed

141

The Hardline / Re: Treating all actors as AEA in a showcase?

« on: Sep 01, 2009, 03:04 pm »

One company I worked w/ that used the AEA Guest Artist Contract(s) actually had the AEA performers come early (4pm call) while the non-AEA cast was called at 7pm (after their day jobs).  The AEA performers could be rehearsed 8 hours in a day.

142

Students and Novice Stage Managers / Re: Enforcing Punctuality in Community Theater

« on: Aug 24, 2009, 03:55 pm »

Is it the director's decision how to run the actual rehearsal? Isn't it their decision to do a warm up, or to hold for the tardy actor?

I like to be on the same page with the director before we even begin rehearsals by letting them know I really like to start on time.  I remind the director that "I" have to deal with the cast for the run of the show and procedures that "we" establish in rehearsals go a long way to lock in punctuality with the entire cast.

143

Stage Management: Other / Re: Opera rehearsals to Opera on stage

« on: Aug 17, 2009, 07:29 pm »

No...I missed about the first 15 minutes so I didn't see the program title.

144

Students and Novice Stage Managers / Re: Resumes: Need help with writting SM resume

« on: Aug 17, 2009, 09:55 am »

I agree with MattherShiner: the interviewer dosn't want to call you back and wait for your reply.  As far as your references getting a bunch of calls---I always inform my references when I send out a
resume(s) so that 1) they know to maybe expect a call   2) I know that my reference info is current.

145

Stage Management: Other / Re: Opera rehearsals to Opera on stage

« on: Aug 13, 2009, 10:41 am »

Has anyone seen the PBS special on the development of the stage production/opera of Lord of the Rings in London?  I caught most of it last night.  It takes you through early rehearsals to moving into the theatre through preview night. It goes into depth on all the team collaboration efforts and as a stage manager, I really felt for the SM team when a set cue (this set is unbelievable with many moving parts and moving floor) is called 3 seconds late in rehearsal and throws an entire fight/dance sequence off. 

146

Stage Management: Plays & Musicals / Re: Musical Director Issues - Multiple Problems

« on: Aug 06, 2009, 10:34 am »

Geee.... (other than the music director's ability to read music) this sounds like a show that's going on in a local community by me right now.
What's your background in music--if you don't mind me asking?  Certainly sounds like you know things regarding this area.
The director should absolutly be involved w/ the musical aspects.  What part of director is he/she missing??
A show won't be at it's best if the singers stress voices and over sing let alone not be ready for opening because they aren't comfortable with the music or just plain don't know it!
I agree that it may take a producer getting involved for the best interest of the show.

147

College and Graduate Studies / Re: Transitioning into community theatre

« on: Jul 27, 2009, 07:13 pm »

Be ready and prepared to do a lot more in the role of SM than you did in college.  When I was in college (many years ago) we were very divided into fully crewed departments.  I know that was a way of training and giving students a chance to do each job.  Community Theatre doesn't always have large numbers of crew members to pick from and often the SM is on the phone/email trying to get friends to come out and help crew shows.

148

Stage Management: Other / Re: 15 vs 30 second timings

« on: Jul 27, 2009, 07:09 pm »

Judging from what has been said above, it seems these are used to mark blocking...are there any other uses?

Lighting cues: how long a count as it pertains to the timing in the score
Scene changes: how long can we have between start to finish of a particular set change
Costume changes, etc. etc.

149

Stage Management: Other / Re: 15 vs 30 second timings

« on: Jul 26, 2009, 12:16 pm »

"Timings" are ellapsed time from one point in the score to another point in the score.  Music follows a tempo (time) and is very precise.  The ellapsed time from one point to the other point in music will be very much the same each time it's played/sung (15 seconds from point A to point B, 30 seconds, etc.)

150

Uploaded Forms / Re: Weekly

« on: Jul 25, 2009, 12:03 pm »

I agree w/ the formatting suggestions (smaller font/smaller heading). I use character names, too. I've actually gotten entire month-long schedules distributed at first rehearsal (a director I've worked with "names" the French scenes--in addition to page numbers--that help us all quickly recognize what the scene is---so I use her format now).  This distribution of the whole schedule depends on your director's method of rehearsing. I use excel and try to get it down to 1-2 pages.  Changes are posted and distributed as they arise.

  Under what circumstances does one plan the week in advance in such detail?

When I have a show with a meduim to large size cast where not everyone is needed for all the scenes, prescheduling and calling cast as needed for a scene is so much better for the actors that are "working"---less chit-chat from waiting actors.  In a recent show with minor-age actors that were in one 10 minute scene, the director got them in---rehearsed--and got them out. Pre-scheduling them helped keep them focused and parents were happy to have them released on time.  When I have shows w/ chorus (especially operas), working principles and chorus separate and then together (later in run throughs) really cuts down on distractions for everyone. Scheduling specific times within the nightly/daily rehearsal lets actors plan their lives around rehearsals they're not needed at.