Messages

16

Students and Novice Stage Managers / Re: Light Walkers

« on: Jan 30, 2007, 12:32 pm »

I used to like light walking at Uni - does that make me weird? Maybe that's why I ended up in opera...

I work a lot of community theater and end up light walking now and again. I don't mind it at all. I find that knowing the blocking and the actors can really speed the process. True, I'm shorter than a lot of the actors, so routinely stand with my hand raised above my head, but I've gotten used to it.

Owen

17

Stage Management: Plays & Musicals / Re: Response to "calling a show by feel" from "things you would never hear..."

« on: Jan 30, 2007, 12:27 pm »

I think you are spot on with that observation. There may be personalities more or less suited to the task, but practice and determination will make most anyone proficient at calling a show if they want to do it. I agree, too, that getting the chance to do it, to face the cold fear or the giddy excitement head on, is the biggest challenge for those of us who really have a hunger to do this crazy job. That's where school can be a Godsend. I was thrown in to the deep end of the pond in my second semester in the Theater department at my community college. They needed an SM. I had non-theatrical management experience, but was TERRIFIED of calling a show. Woke up nights from nightmares of having brought the show to a crashing halt because of some blunder in my calling it.

I did make some mistakes in that first production. There were a couple of calls in that show that I NEVER got right and my LX saved my butt every time. These days there are still call sequences that I struggle with, calls I occasionally miss, but I have several small plays lined up over the next few months and directors calling to discuss scheduling future productions. Every one is a little easier, but even the small ones seem to keep the luster of the first one. I love my job.

Owen 

18

Students and Novice Stage Managers / Re: Paying for parking

« on: Jan 26, 2007, 07:06 pm »

I often work at a community college theater where our actors PAY to be in our student productions. I pay for my parking, just like they do. In the summer, when the professional company rents the theater, I'm paid a stipend, and because we are on campus I usually get a comp parking pass, but if the lot is full, I park in the metered area or walk half a mile from the remote lot.

At the Shakespeare company on the University campus the parking is $5.50 a day. I keep all of my receipts and will claim them on my taxes as work related.

At the community theater where I'm currently Stage Managing we wrangle with the public for a few parking meters with Two Hour Total limits--and all of us on crew play musical parking stalls until the restriction lifts at 8 p.m.

I live 20 miles from these theaters and with the cost of fuel I frequently spend more to get there than I earn on a production. While this is obviously not my "day job" YET, it is what I hope to do to support myself in the future. Until that happens, I consider what it costs to get there, to park, to be there instead of somewhere else earning more money, as part of earning my Chops. I'm getting the experience I need to be able to present myself as a seasoned professional who is ready to step into a career professional theater where I may get a parking pass, or at least a salary that makes paying for travel and parking a little less painful. 

Perhaps there is a remote parking solution that will save you some money up front, public transportation to get you to your theater (save those receipts) or a car pool that will help you cut your costs so that you can afford to keep the position and learn what you are there to learn. 

Owen

19

Stage Management: Plays & Musicals / Re: marijuana and theatre

« on: Jan 22, 2007, 01:12 pm »

Yes, it probably was sage, but still would be a problem backstage. Outside in a designated smoking area is the law in California theaters.

Some people are sensitive to Febreze and a lot of us just hate the smell of it. A secret from the costume department for you, one that I use regularly and one of the things I didn't mention that's in my SM kit, is a travel size spray bottle filled with 50/50 water and vodka. Spray it into the air, spray it lightly on upholstered furniture, on rugs, etc. It will take down the odor almost instantly, leaves no residue or secondary odor. We use it on costumes between trips to the cleaners and also when storing them.

Owen

 

20

Stage Management: Plays & Musicals / Re: Response to "calling a show by feel" from "things you would never hear..."

« on: Jan 21, 2007, 12:56 pm »

LOL...THAT would be choice!

I ended up having to talk to every actor in the play, individually as they came in, each of them anxious to let me know there was a problem with the cue. While a monumental waste of 20 minutes of my time in terms of dealing with the cue itself--I showed them the written change in my script and each apologized for causing grief--it was a "teachable moment". I was able to give four actors a lesson that I hope will last through their careers. I pointed out that if one (or all) of them had come to me directly, immediately after the performance, I'd have pointed out the change and that would have been the end of it, saving much time and angst. I also impressed on them the notion that any issue they had with my cues should come to me DIRECTLY, and not through my ASM.

I still believe that's the best way the issue should have been handled, and that my ASM should have sent the problem to me rather than taking a note, but am now starting to second guess myself. My ASM is a seasoned SM with far more experience than I have. I know it doesn't mean she knows it all. How do others think it should be handled? Aside the fact that actors supposedly don't "get a vote" on how a show is called, do other SMs prefer that actors (and others) go through their ASM with issues like this? I prefer to be accessible and pro-active, interacting with the cast before performance, checking in with them at intermission, giving them notes as soon as possible after.

Any input?

Owen

21

Stage Management: Plays & Musicals / Re: Response to "calling a show by feel" from "things you would never hear..."

« on: Jan 20, 2007, 02:06 pm »

Oh my...I just had a "flip side" moment, myself. Doing a set of 10 minute plays right now. The directors have left, but one left an actor "in charge" of his show. There is a sound cue for a telephone ring that was first cued to a word in a line. During tech we called it on the blocking and the director liked it. Then an actor changed the blocking and the director didn't object. Director is now gone, but the actor "in charge" sent me a note last night (through my ASM) that I've called the cue wrong for the last three nights--that it is to be on the cue word and nothing else." I'm going to have to discuss it with her and the actor IN the scene this evening. She's back stage during that part of the play so can't see what the energy and movement are looking like. I'm not going to fight with her about it. If I can't convince her that the call really was moved to the blocking cue, I suppose I'll just call it on the cue word and let it look stupid. I love community theater...

Owen

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Stage Management: Plays & Musicals / Re: Response to "calling a show by feel" from "things you would never hear..."

« on: Jan 17, 2007, 07:04 pm »

My current mentor is pushing me to do exactly this. He assures me I have the ability, the passion for theatre that it takes to truly become part of the show--which is what you are describing--moving with the emotions, with the rise and fall of the energy, responding to that energy, going on a move, a vibe, rather than just hitting a cue on a word or a cross DS. I sometimes doubt myself, get caught up in the words, the notes in my script. He's gone so far as to reach over and cover my book, forcing me to feel my way through two or three calls in a row. I no longer panic when he comes in to the booth during a show, but it's still a challenge.

Owen

23

The Hardline / Re: "You're the One that I want" reality show

« on: Jan 17, 2007, 06:20 pm »

From your mouth to God's ears, Centaura. UN-reality tv makes my hair stand on end. The cattiness, the producers' propensity for pushing people to their limits and giving them every opportunity to show their worst sides...sigh. I just don't understand the fascination people have. Shadenfreude...not for me.

Owen

I just wish that the taste for reality tv would fade and we could get back to the days where good writing, performances, directing, etc. made a show popular verses glorifying negative human behavior.

-Centaura

24

SMNetwork Archives / Re: SM photos

« on: Jan 16, 2007, 10:13 pm »

There's a reason a lot of us dress in black and stand in the wings<g>. I've tried to get shaps of some of my deck crews at work and have a devil of a time...and conversely, they don't have pix of me, either. No one has wanted them. I'd allow it, but don't encourage or invite it.

Hope you get some responses from SMs with shots to share.

Owen

25

SMNetwork Archives / Re: word usage?

« on: Jan 12, 2007, 04:26 pm »

I frequently use "concern"... as in "are you concerned about the way that is sticking out into the passageway?" or "I'm concerned about the amount of noise I'm hearing from backstage during that shift..." Delivered with the right tone it gives the other person a chance to explain to me what is happening rather than making them feel they have to defend a position. It feels less adversarial to me and my crew/cast become accustomed to it rapidly and know I'm seriously trying to work with them as part of a team to deal with an issue.

Owen

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Tools of the Trade / Re: Stage Manager workstation/Desk

« on: Jan 07, 2007, 06:15 pm »

Sounds great! Eyes wide, waiting to see the photos.

Owen

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Stage Management: Plays & Musicals / Re: Dressing For The Part?

« on: Jan 07, 2007, 10:09 am »

Blacks all the way. Meeting a new cast/director I wear good black slacks and a button down shirt. Working rehearsal, black 5.11 Tactical pants (LOTS of pockets) and a black T-shirt, many of them Show shirts, or other non-offensive designs on them, black shoes (my favorite are Crocks. Very comfortable). Once we are in tech it's black tacticals, black long-sleeve Dickies work shirts, black leather cross-trainers or my Crocks, black ball cap. Opening on, usually black dress slacks, black dress shirt, black dress shoes. The only exception was a show I worked recently that had my control booth up on top a scaffold. We were working in the round, in a recreation of the Rose theater, with the audience seated on the stage. I had to climb the outside of the scaffold each night, so I chose to go up before the house opened and stay there until final curtain rather than scramble up there five minutes before curtain and be part of the night's entertainment. I wore my best tacticals and a work shirt. The only time I wear jeans is if I am on Scenic Painting crew, like today. I'm headed out to my little theater this morning to paint some props, some walls, a couple of signs, and the deck, to fix a couple more props, run a shift rehearsal, and generally keep things moving toward opening Thursday night. Gotta love community theater while working on finding an AEA apprenticeship.

Owen

28

Students and Novice Stage Managers / Re: Hi from the deep South....

« on: Jan 06, 2007, 02:15 pm »

Thanks for the encouragement and advice.

Yes, I'm aware of the nature of most internships<g>, and have no problem with it. Starting from the bottom, building a good foundation, is a tried and true method of getting to the top. I'm the kind of person who gets in to a position, gives it 110%, is curious, cheerful and resourceful, knows his limits, and isn't afraid of trying something new. I'm quiet, but always looking for ways to help move the process along. The people I end up working for usally take notice and soon I'm being offered opportunities to use the many higher-level skills I bring with me. It's how I got in to the theater, and SM'ing, in the first place.

See you around the callboard.

Owen

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Students and Novice Stage Managers / Re: Hi from the deep South....

« on: Jan 03, 2007, 07:57 pm »

You go for it, Shannon. If you're old, then at 55 I'm DIRT, and I've only been at this for 2 years. I went back to community college and immediately started translating skills I'd brought with me into the theatre. After two years, I'm a stage manager, costumer, props carpenter, stage electrician, projections/media coordinator, and board op. I've SM'd three major shows, several smaller ones. In all I've been intimately involved in 11 plays in two years. What I lack in knowledge I make up for in attitude, willingness and dedication. What I do know, I've applied in exciting ways. Having a little age on us makes it easier to get a cast's attention sometimes, as long as we show them due respect and model good behavior. I've now trained two ASMs and left them to grow into full stage managers as I move out of the academic and into the community realm to work. You'll do great.

Owen
Santa Cruz, CA

30

Stage Management: Other / Re: Opera Rehearsal Reports

« on: Jan 03, 2007, 11:04 am »

I haven't done opera, but my impulse would be to try to identify what I felt was missing from the form I use and create my own form to make room for those things. When I got to my college the form they were using was in exel and really difficult to use. Before I left I ASM'd a show with an awesome, computer-wiz SM who re-wrote the form using the table format in Word. She graciously gave me permission not only to put it into my arsenal of paperwork, but also to leave a copy in the theatre department files for my successors. If you're not a Word Wizard, maybe you know someone who is and can help you.

Owen