Messages

1486

College and Graduate Studies / Re: Compilation of grad schools

« on: Oct 18, 2009, 06:27 pm »

Digga . . . I went to grad school about 9 years after I stage managed my first show professionally at UCSD.

I think there is always something to learn in the field.

1487

The Hardline / Re: Script rewrites

« on: Oct 17, 2009, 04:22 pm »

I think this discuss should focus on if the AEA SM is involved, in this particular situation it was dealing with AEA SM (In my situation, I have staff for days that could do it, but at my current organization Artistic takes care of it.)

1488

Stage Management: Plays & Musicals / Re: Broadway SM arrested

« on: Oct 17, 2009, 04:20 pm »

Ah, come on . . . stage managers are just humans.  We aren't super human, and we are subject to the same follies as other people.  Still, it's a pretty bad thing to do.

1489

The Hardline / Script rewrites

« on: Oct 16, 2009, 01:35 pm »

So, a recent conversation that I was brought into, regarding script changes, and who is responsible for updating the script, typing new pages, distributing, etc.

Is the the AEA SM's responsibility?  Is this something to bill for?

I mean, seriously “But, in no case shall the Stage Manager’s or Assistant Stage Manager’s rehearsal and/or performance workweek exceed the hours specified in Rule 50(A) without overtime compensation.” 

The rules are so contradictory in the book.  Reading that note, anything after 50 hours would be overtime. 

But, I can’t bill for “(a) Calling, scheduling and coordinating all rehearsals, note sessions and any other calls.  (b) Communicating and coordinating with the artistic, production and Theatre Staff.  (c) Maintaining the artistic intentions of the director and the Theatre after opening to the best of his ability, which shall include giving notes and calling rehearsals when necessary.” 

What else do I do outside of rehearsal hours other then those things?  I just don’t see how those two rules work together . . .

Would updating the script, tracking script changes, formatting script pages, and distributing fall under the un-billable section?

1490

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

« on: Oct 14, 2009, 07:05 pm »

But the real question is - are those who aren't always honest in their reports going to be honest here?   Huh

True . . . very true.

There are many stage managers who would never put a disparaging word about their work in the report.

1491

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

« on: Oct 13, 2009, 01:52 pm »

About being completely honest in reports . . . I always like to hear answers to this question . . .

Do you note when you screw up in the report?

1492

College and Graduate Studies / Re: Portfolio Reviews

« on: Oct 13, 2009, 01:49 pm »

The best people to contact about this is the people you will be interviewing with, as a Portfolio Review for a SM candidate could mean many things.

1493

Tools of the Trade / Re: Google Wave - SMNetwork Sandbox

« on: Oct 13, 2009, 01:46 pm »

Count me in . .


--Invite Sent--

1494

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

« on: Oct 09, 2009, 01:57 pm »

I think there is always some sort of editing in typing up any report.  But, it's probably best to error on the side of being honest and fair reporting.  What if the dropped mic is a rigging issue, saying, hey, we dropped it three times, maybe there needs to be some work.  Then you are going to want to the documentation to back it up.  Although you think your producer is over reacting to things in the report, some SM's would love to have such an attentive producer - as opposed to a producer that ignores issues that come up with trends in reports.  So, enjoy the attentive producer while you can.

On option would be to keep show notes that you keep on file, and edit those into a show report, although I think that is adding a layer like that would be a problem.

1495

The Hardline / Re: Photography at Rehearsal

« on: Oct 07, 2009, 11:30 pm »

I think the rule is pretty clear . . . 24 hours notice.  (it doesn't even have the out of some rules, where it is 24 hours notice if possible . . . )

1496

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

« on: Oct 01, 2009, 03:42 pm »

and seriously, the producers would be so fined for letting a "legit" video go out.

1497

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

« on: Oct 01, 2009, 02:55 pm »

For some reason I doubt any producers would allow video of this incident to go out.

1498

Stage Management: Plays & Musicals / PEOPLE: Adjusting your style

« on: Oct 01, 2009, 10:38 am »

As I grow older, the more and more the job of stage management becomes about style.  The style in which you interact with people, communicate with people, in general deal with people.  As I have the benefit of working with a lot of different stage managers, I find it interesting to watch other people’s “style” on interaction (with other stage managers, with cast, with crew), and how people put different emphasis on different priorities.  (It again reinforces the concept that there is not one “right” way to stage management.)

The question I pose is, how much do you find yourself adjusting your style when you work with a new team?  Work at a new theatre?  Or just generally evolved in the business?  I work at one theatre, and have for six years now, so I find that my style is pretty consistent, although with new team members or new shows or new directors, I try to be even more flexible then I am normally am.  What I do find changing, is, as I get older, within my team, I become more and more rigid.  I know what I want, what I like, and I know what works for me.

Just out of curiosity, I was interested in hearing other people’s views on their style and adapting their style.

1499

Stage Management: Plays & Musicals / Re: Producer told me I had to me be nicer in rehearsal!

« on: Sep 26, 2009, 11:44 am »

I would assume be nicer to the director and the MD.

I know that totally sounds like a smart-ass comment, but to be honest, if there is a person that is actually observing your work, and is the producer, your boss, gives you a note about your performance, then you should take it to heart. 

I think there is another side to this story, since it seems like your MD just blew up during "the discussion of the schedule".  I am sure he was feeling like during the scheduling process his needs were not being met.

It sounds like there is a little bit of a control issue - just in your comment about the schedule, in that you are trying to plan ahead, and the schedule changes - to be honest, in a lot of productions and types of production, although you can sketch a week or two in advance, you are always going to have change the schedule based on the needs of the production at that time.  I would never dream of setting a schedule, except for rare occasions, until the night before.  (I usually at the top of day I play . . . what is tomorrow going to be if we stick on schedule and draft the call, but at the end of the day, I am usually adjusting based on how far we really got, costume fittings, vocal calls, etc.).

It does seem your Director and Musical Director are a bit stressed, and perhaps need a little more handling with kid gloves.  I think one of the most important skills in stage management is to be able to "take the temperature" of the room and re-act accordingly.  I love stepping into a rehearsal hall with all senses a blazing and trying to figure out who is having the bad day, who is stressed, who is panicked, and who has sort of checked out.  If your producer is picking up on this, then I would try to step back and see how how your interactions with the Dir and the MD might be being perceived. 

You may be nice in all your interactions to them, but they maybe perceiving it differently.

1500

Stage Management: Plays & Musicals / Re: Pranks

« on: Sep 08, 2009, 08:48 am »

There are two huge schools of thought on this and you sort of have to gauge your cast.  I have always dealt with this with a grain of salt, and when confronted by someone pulling pranks I pretty much give the following speech “I understand that you are getting bored playing your role, but although this maybe you 50th time (100 th time, 200th time, 1000th time) playing this role, it’s the audience’s first time and they are paying quite a bit of money.  If you feel you need to do something back stage to help keep your performance fresh and exciting, then by all means go ahead – here’s the thing . . . it can not affect the product at all and it can not affect an unwilling participant.”

I worked recently with an amazing actor, big Broadway, West End type . . . he was great with little pranks . . . but only SM and he knew about it – like what sort of silly prop was in his pocket or hand.  But it never affected the final production, it only gave him the rush of knowing something was afoot.

Now, you say small pranks lead to bigger pranks.  Well, it can be that way . . . but in my history, small pranks release the pressure.  When you come down hard with the "Zero Prank" mentality, they begin to become more covert – and wouldn’t you rather be in on the pranks and able to put your foot down and tell them what is acceptable or not, then kept in the dark?

Let the pressure be released in an acceptable manner - keep the energy and performance up.  Remember, that can be some fun in theater, as long as it never makes it on stage, and the final product is not affected.