Messages

16

Students and Novice Stage Managers / Re: Internships in London

« on: Jan 21, 2009, 10:33 pm »

The internship is available through the Gate Theatre, not a study abroad program, though my university did set up my particular internship as they have a long standing relationship with The Gate.  As you can see from the link it is a full time internship, but if you mention that you're a student, you may be able to work out different hours (longer hours on days you don't have classes, etc.)
Really, it's a great opportunity and unless the theatre has moved and undergone MASSIVE changes since 2006, it's a small operation and if you make an appointment to talk to them I'm sure they'll interview you. The current general manager, Undine, was there as an office staffer when I was there and she's nice.

It's always worth a shot to send in your CV and cover letter and see if they get back to you.

17

Students and Novice Stage Managers / Re: Internships in London

« on: Dec 18, 2008, 09:55 pm »

When I was in London in 2006, I interned at the Gate Theatre in Notting Hill. It was a great experience. It's a small theatre company and the people are great.  I started out as an intern there, but after proving myself I ASM'd a show for them. It was a wonderful way to gain insight into how theatre works in the UK and also just to hang out with people who aren't American.  I went with my school's study abroad program, so I lived in an apartment with other American students so it was easy not to socialize with actual people from London.  Doing this internship really helped me absorb the culture there.

So! Definitely contact the theatre and let them know you're interested. When I worked there the General Manager's name was Cath Longman. It appears she's no longer there, but Nick Abbott (the technical manager) is a great person. A lot of fun.  Here's a link to the page with internship information: http://www.gatetheatre.co.uk/jobs.aspx

Good luck (or, as they say in London) Cheers!

Britney

18

Stage Management: Plays & Musicals / Re: SM Duties During Vocal portions of Rehearsals for a Musical?

« on: Nov 19, 2008, 12:13 am »

I like to attend all the rehearsals (especially if you're just getting to know the cast) so I can make sure everyone gets there on time. I also think it helps the actors realize you're there for them (again, if you're meeting them for the first time).
I'm always there just in case something comes up and you don't want your Music Director to have to deal with it.

Generally, I don't sit in the room with them. I work in an adjacent room and poke my head in to check up and give them appropriate breaks, but other than that I keep to myself.

That way, I can get work for the show done and the Music Director has someone to turn to if something gets out of hand, the actors are late, or he/she has a question about the show.

19

College and Graduate Studies / Re: Is undergrad too early?

« on: Nov 17, 2008, 11:47 pm »

You're only limiting yourself if you allow yourself to be limited. (That sounded more Yoda-esque than I meant it to)

What I mean is, if you go to a liberal arts school for your undergrad theatre degree, you will have PLENTY of opportunity to take classes outside of your theatre major.  In fact, these classes (like psychology, sociology, writing, math, economics, biology, anthropology, etc.) will be required by many schools for you to graduate.  Many theatre majors have a minor in something like Poli-Sci, economics, sociology/psychology or writing as it helps them have interests (and a life!) outside the theatre department.

If you go to a school with a conservatory theatre program you may be more limited in terms of what classes you will be taking. 

Keep in mind that the skills you learn as a stage manager and theatre practitioner are still valuable skills to have for jobs outside the theatre world.  If you want to apply for a non-theatre job to expand your horizons, ask a non-theatre friend/parent to look over your theatre resume (or just tell them about your skills) and they can help you "translate" your theatre experience into words that non-theatre employers will understand and value.

I graduated from college with a BA in Drama and never thought for an instant that I was pigeon-holing myself or putting myself in a corner with my degree.  I learned a great deal about theatre in school, of course, but I also learned a great deal about life, people and the world during my college career. It may sound hokey and old-fashioned, but it's true. There are also many stage managers that didn't go to college or went to college for something else entirely; Don't allow your degree to limit you or own you.  Make the best choices for you with whatever degree you decide to pursue.

20

Stage Management: Plays & Musicals / Re: Communication Issues

« on: Oct 29, 2008, 05:15 pm »

Thanks to everyone for all the good advice.  Looking back on each moment, I can see where I could have done something differently to help/change the outcome of the situation. Things always seem worse in the heat of the moment.

I agree that I should definitely talk to the director and get his permission to make executive decisions regarding call times. Especially since he is interested in turning this company Equity in the future and wants to make the transition as seamless as possible. 

As my father is so fond of saying: there are no bad experiences; only lessons learned. The more "lessons" I learn, the more I agree with him.

Britney

21

Stage Management: Plays & Musicals / Re: Communication Issues

« on: Oct 28, 2008, 07:26 pm »

Interesting system. I did think about doing something like this but thought it would be too time consuming.  It's good to hear from someone who has tried it and gotten through the time consuming aspect to the actual helpful aspect!

22

Stage Management: Plays & Musicals / Re: Communication Issues

« on: Oct 28, 2008, 04:35 pm »

In your situation, people not reading their emails absolutely falls into your circle of concern.  Unfortunately it falls well outside the circle of influence. 

Sometimes there is not a whole lot you can do!   

Thanks for the helpful diagram! I suppose it's just maddening to me that there is so little I can do to fix this. 

23

Stage Management: Plays & Musicals / Re: Communication Issues

« on: Oct 28, 2008, 04:34 pm »

Thanks, Mac.  
I guess ultimately I feel strange talking to them about these elementary communication issues. Perhaps its because I've been in the business for 5 years and they've been in the business for 25 years.
I wonder how they've done things in the past and if this is just a function of them being at a new theatre company (management just changed recently) or if this is just how they operate.

24

Stage Management: Plays & Musicals / Re: Communication Issues

« on: Oct 28, 2008, 03:35 pm »

Thanks for the advice. How can I set my email to let me know when my emails are read? I use Gmail.
Thanks again,
Britney

25

Stage Management: Plays & Musicals / Communication Issues

« on: Oct 28, 2008, 02:28 pm »

As the stage manager, I've always understood it to be our responsibility to facilitate communication between the actors, directors, designers, technicians, producers...etc.  I feel I do a good job keeping everyone up to date on what's going on with the production.  I send out my rehearsal reports, daily schedules, production meeting reports, and follow-up on e-mails/phone calls as quickly as I can. 
But what do you do when your production team is not reading your e-mails, responding to your phone calls or telling you what you need to know?
Example 1:
I spent about 15 minutes making up a rehearsal schedule for the week with my music director and assistant director (our director was out sick that day...another story in and of itself). I then read the schedule back to them, they agreed it was fine. After rehearsal I typed it up and sent it out to the production team as well as the cast.  We then had a two day break and when we returned, they told me that our music director had a conflict with the schedule for that day and we needed to change it immediately (this is 45 minutes before rehearsal). I asked them why they didn't tell me about it two days ago when we were making the schedule or even respond to my schedule e-mail letting me know that we'd made a mistake and they said they didn't know.
Why didn't they read the schedule e-mail or think about it more carefully after I read the schedule back to them?

Example 2:
Our producer signed on a designer (for very little money, but none of us are getting paid much) who had worked for the theatre before and had a soft-spot for it.  Great! I thought. Someone familiar with the space! For weeks I tried to schedule production meetings around this designer's schedule so we could all sit down and chat. I even told this to the producer who wished me luck.  I finally thought I had nailed down a time so I called the designer and asked if she would be available. She told me that when she signed her contract, she only agreed to come to one production meeting, so if I wanted it to be this meeting I should really think about it. I apologized to her for my mistake and spoke to the producer who said that he had in fact made this verbal agreement with her.
Why wasn't I made aware that this designer was only contracted to join us for 1 production meeting?  Especially after trying to schedule around her for weeks?

Example 3:
Late last night I received an e-mail from our choreographer letting me know that she won't be able to make it to rehearsal today because of a scheduling conflict. I immediately send her a note back letting her know that I will take care of it and I forward her e-mail to the director/asst. director/music director and let them know what I think the best plan is. I then ask them to please let me know if they have any other thoughts before I telephone the actors involved and change their call time.  I don't hear anything from them, so I call the director. No answer. I call the Assitant director who says he'll call me back. He doesn't. I call the director again. No answer, I leave a message. I call the Assistant Director. No answer. I wait. I call the director again. No answer. I wait. Finally I get a call from the Director saying that he just got to his desk and he hasn't checked his e-mail yet today so he has no idea what this scheduling issue is. He reads it and says my idea is great and I should go ahead and call them.
That's all well and good, but I was just trying to do the informative thing and not change the call without consulting my director. If he wants to give me the power to change the call when I think it's right, that's fine, but I need him to tell me that (or maybe I just need to ask).

Has anyone else ever encountered communication problems like this?
What can I do to fix the issue?
The people I'm working with are not new to the business (they've been doing it for many many years) so I'm baffled at how poorly they communicate with me and with each other. I really want to help them and make this production go as smoothly as possible, but I'm have a really hard time.

Any advice?

Thanks,
Britney

26

College and Graduate Studies / Re: looking for a school

« on: Oct 25, 2008, 09:16 pm »

I recently graduated from Ithaca College with a BA in Drama and a focus in Stage Management. Like JenniferS said, the BA gives you a lot of latitude within the department to do many different things (act, direct, write plays, stage manage, etc.) as well as allowing you to focus on one area.
Within that area of focus, there are also many different opportunities. In my four years, I ASM'd and SM'd mainstage shows, student directed shows, shows off-campus, shows that were performed out doors and moved around campus as well as a show in Spanish. So, as you can see, if you're willing to put yourself out there you can really get a variety of experience for your educational dollar.
I did nothing but SM for my four years, but I also know a lot of BA Drama majors who directed, acted and wrote as well.  It all depends on what you want to do there.
If you would like a graduate's perspective as well as a freshman's (what could be better than looking back AND looking forward?) feel free to PM me as well.

Britney

27

Stage Management: Plays & Musicals / Re: Ricola

« on: Aug 28, 2008, 12:14 am »

Ricola sent a theatre I worked at like 5 tubs of Ricola at the beginning of the season because we gave them advertising space in our program for the whole season.  (I'm pretty sure that was the deal) So, yes, it does exist!

28

Students and Novice Stage Managers / Re: On College from WSJ

« on: Aug 19, 2008, 09:10 am »

This is an interesting article.  I agree with many of the author's points about the education system (having just graduated with my very own BA in Drama).  The only flaw I see is that it would put more than just one group of people at a disadvantage. 

It would disadvantage those with test-taking anxiety or poor standardized test performance. I know many incredibly bright individuals who are stellar in the classroom and on paper but who freeze up when it comes to taking test.  The anxiety overwhelms them and they do not perform to the best of their ability.  Also, some people just do not perform when it comes to standardized test because their mind doesn't work in a multiple-choice, fill in the bubble type of way.

I realize that higher education is full of standardized tests and other types of tests. It's practically unavoidable no matter what type of education one receives.  However, having one monumental 14 hour test determine whether or not you receive "certification" in your chosen field seems a bit unfair to those with test taking anxiety since that is the ultimate stressor.

Would the tests reflect the hands-on (or not) nature of each field?  For example, would a CPA type test for someone graduating with a degree in vocal performance be a written test, an oral test, or a combination?

Just things to think on... 

29

Stage Management: Plays & Musicals / Re: Your Prompt Book - Left or Right?

« on: Jun 29, 2008, 08:07 pm »

I have my script/cues on the right, and blocking on the left, even though I'm right handed.  I don't like having a separate calling script, because during the rehearsal process I get so comfortable looking at my blocking script that to have a new, clean script for cues feels a little unsettling.

For the last show I did (Midsummer), I actually did type up the script in Word before the rehearsal process just to try it out.  After tech and preview were over, I entered all my cues into the Word document version of my script and printed out a new "calling" script to use for the run of the show.  I thought it would be easier since it was a smaller binder with just the script, the cues were typed in and permanent, etc.

I used it for the second performance (didn't want to jinx opening night) and it was the weirdest feeling.  I was constantly doubting myself and thinking I'd typed the cues in wrong (even though I hadn't). I'd even brought my rehearsal script up to the booth with me and double checked some of the cues because they looked so different typed up. As you mentioned, it was very unsettling not to be looking at the same script as I'd seen every day during the rehearsal process. After a few performances I got used to it and didn't have to check the cues in my rehearsal script anymore, but those first few nights with the calling script were very weird.

30

Tools of the Trade / Re: The Blackberry

« on: Jun 26, 2008, 11:58 am »

I also have an iPhone.  I know people with Blackberries, but I still like my iPhone better and it works wonderfully with my MacBook. I am a bit addicted to sending people instant e-mail replies, but the longer I have it the less I feel pressured to respond as soon as they send me a message.  They can wait until I'm finished with a conversation.

It is definitely a bonus to be able to at least know how many e-mails you've been sent during the day while you've been away from your computer.