Messages

16

Stage Management: Plays & Musicals / PROPS: Edible prop food

« on: Apr 11, 2010, 08:25 am »

Hey guys - I'm trying to think of ideas for cheap, easy to prepare, tasty items to include on several tiered trays. Circa 1930's socialite group where I have to fill two of these trays with sandwiches and sweets. Ideally, I'd like to get a variety of shapes and colors to so they look fabulous. Actors have only asked that nothing be too sweet or junk-foody. No allergies.
So far I've come up with:
 - well, the inevitable tea sandwiches - cucumber sandwich but is there anyway to improve on this? I mean without mayo that would turn bad? Or maybe a pesto sandwich? What other fillings would be good, out of the jar items that won't go bad??
- white bread crust mini tarts - filled with either cool whip or light lemon pudding or something? (cut crusts off of white bread and cut that piece into four - push each little square into a mini tart pan and bake briefly till crisp)
- Angel food cake and/or angel food cake with red food coloring (red velvet cake), or some other, easy, light cake that I can cut up and have in the freezer.
- Sugar cookies or shortbread where I can control the amount of sugar. Any other cookies? Maybe some recipe where I could squeeze the dough using one of those cake decorating tips and bags so they are fast to pump out onto a cookie sheet.

Any other easy recipe ideas that won't take a lot of time to prepare and are tasty would be really appreciated.
Thanks!

17

Uploaded Forms / Re: Deck Cues

« on: Mar 16, 2010, 11:02 am »

Love this Matt. Clear, simple and therefore very readable at a glance. The only difference I have to mine is to put the time column left of "who" but I love the black headers marking time as well as transitions.
d

18

The Green Room / Favorite brown bag lunch?

« on: Mar 16, 2010, 10:38 am »

Ok, so I'm headed into rehearsals and have to come up with nutritious, easy to prepare, eat-on-the-go lunches. My favorite for awhile were hummus wraps with roasted red pepper and fresh spinach but I'm kinda getting sick of the stuff I've been having. What are your favorite no-fuss take along lunches/ meals??

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Stage Management: Plays & Musicals / Re: PREP: Taping multiple floor plans?

« on: Mar 09, 2010, 07:12 am »

Thanks guys.. great ideas. Geoff can you elaborate on your system though. For example, for "SR2", how do I get the depth (wing) as well as the width of the mark?
ps. All trucks with be moved either by IA or automation

20

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Pre-show drink

« on: Mar 09, 2010, 07:08 am »

I have to say in those circumstances, I'd be really tempted as well however on the two occasions where I thought it was ok, something went wrong in the show, but that had nothing to do with me. I therefore just think of it now as "bad luck" and don't ever touch it.. almost glad that happened though since I can see it being a "slippery slope" as you call it. Just say no kids

21

Stage Management: Plays & Musicals / PRE-PRODUCTION: Taping multiple floor plans?

« on: Mar 08, 2010, 06:43 pm »

Hey guys..
I'm in prep for a show with many scenes and all have different sets/trucks/floor plans. Any tips on taping these out in the rehearsal hall other than 12 colors so that it won't look like a mess? I'm thinking corners only and then the furniture should naturally fill out the space. If you've had experience with this before and learned a few things, I'd love to hear them. Thanks.

Edit subject line-Rebbe

22

Stage Management: Plays & Musicals / Re: COMMUNICATION: Describing Audience Reactions in Performance Reports

« on: Dec 18, 2009, 07:53 am »

Awesome subject.. I almost posted this myself last summer. Wouldn't it be great to have a performance report thesaurus handy?      Not because we're lazy, just because we want to be as detailed as possible. I had a well-known director approach me after a long run and take the time to tell me he really loved my show reports because they were so detailed. So just know your efforts are appreciated even if it seems you send them off into cyberspace..

I usually start with a one or two adjectives (nice, solid, very nice, great, good show, terrific, show) and then elaborate with energy levels, audience, specific sections if any stand out - whether they were "strong" or "under par". Whether the show was "consistent" or had fresh moments. For a particularly good show I use "beautiful" and/or "moving" or if I have been moved even after having seen it numerous times, I will mention that. I also mention at the end how well the curtain call was received and if there was a standing ovation or "partial" standing ovation. I find honesty is best rather than trying to be fancy. It gets easier with time.. and if you jot notes or ideas that come to mind during the performance.

I think it's much harder doing a show report for a show you think has been directed with some weakness. The show is upholding the integrity that the director left but you know it can be better.

23

Stage Management: Plays & Musicals / Re: Automation Advice

« on: Dec 08, 2009, 08:05 am »

Thanks guys   All that is helpful. A few questions from your info though.. can you fill me in on how an automation cue sheet is set up? I imaging something like: Act/Sc/Pg/ Cue #/ Set piece (Axes?) / Movement / Speed / Notes   .. something like that? I'm assuming however that this is created in the early planning stages and I would just need to alter it out of the rehearsal process.
Also, I found out we're using the Raynok system.
Very helpful.. keep the tips coming

24

Stage Management: Plays & Musicals / Automation Advice

« on: Dec 07, 2009, 03:17 pm »

Hey guys..
Something I'm specifically looking for info on is automation. I've been at a very large regional theatre for one season (Equity and IATSE) and heading into my second. I've been given a heads up from the team of electrics designers and TD's, that my upcoming show has the most automation they've done. (It's a straight play, not a musical). Although I've been equity for 20 years, I've never worked with automation before and I'm looking to get as much feedback/expert advice from stage managers, automation programmers, designers, operators etc. as to what they technicians want and need from a stage manager and from SM's as to what your experience is managing a smooth process. For example, I've found out that the SM during rehearsal process, provides the programmer with a list of all set pieces to move independently to begin with. That's programmed roughly and then he builds other "blocks" where the timing of pieces moving overlap.
I guess my big questions are: What is the ideal process and how does it unfold to put it all together (ex. fine tuning to actors timing) and again, what would make the people on my team really happy with me.. Trying to gather as much info as possible to be as prepared and knowledgeable as possible. Any tips, tricks, insight or "a-ha" moments of experience you've gained and carry onto your next show would be much appreciated.
Thanks!!
dee

25

The Green Room / Re: Best reason from an actor for being late

« on: Aug 10, 2009, 12:46 am »

I had an actor once who had a heart attack hours before a show. While traveling in the ambulance, I was his first call.. before his wife. He had surgery immediately and was onstage in three days.

26

The Hardline / Re: Equity, transfering between countries

« on: Jun 30, 2009, 07:16 pm »

Once you become a full member of CAEA, you can work under AEA contracts and vice versa.  I haven't the foggiest when it comes to other countries.  Like VSM says, give Equity a call.

You can't work under AEA even though you are CAEA, unles you join and become a member of AEA which you can do by paying your initiation dues.

27

College and Graduate Studies / Re: Niagara University

« on: Jan 26, 2009, 02:49 pm »

NU is a great school and Buffalo is an amazing community to gain valuable theatre experience from! TONS of companies there always willing to train an intern and welcome help!!

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Stage Management: Plays & Musicals / Re: Poor stage weapon practices... Another close call

« on: Jan 22, 2009, 05:40 pm »

Not only scary but pure stupidity.

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The Hardline / Re: Half Hour Call

« on: Jan 22, 2009, 05:36 pm »

Canadian equity stipulates a half hour needs to be given any time you require the actor to be in costume. Includes all dress rehearsals as well as photo calls.

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The Hardline / Re: CAEA Apprenticeships

« on: Dec 30, 2008, 10:40 am »

Hi: I've been CAEA for 20 years.. Apprentices are paid whatever the company is offering. There is no set amount by equity. I've heard of some smaller companies not paying anything (although this is rare). Most mid-sized, well established houses pay $500 per week. Younger or smaller companies can pay $350. I would say that's the standard range. It's not a question equity can answer. I'd be careful making that your first question though to the theatre. They want you to want the credit and if you're only doing it for the cash, it may come off as applying for the job for the wrong reason. Usually, young apprentices can afford to do this since they're living at home still. Hope that helps!