Messages

16

Stage Management: Plays & Musicals / Re: TOURING: Venue info/questions

« on: Nov 19, 2015, 05:34 pm »

Is it a fully staffed tour, with a Head Carp/Flyman? If it is, All these questions should be answered in your advance paperwork from the venue with your head carp, so you can know before you get there. Hours access will depend on if the house is union or not. You will most likely never get keys, so you will need to leave before the last person does. If there is access codes, they will let you know on the advance.

For FOH, ask what the communication is, most likely it will be by radio, sometimes one that the tour provides. I wore mine at all times, FOH was on channel 5, Lights were on Channel 6, Carps on 7, Sound on 8, Etc. So I had to jump channels every time I made a time check. As far as house procedures go, it depends on what your tour needs. I had a sheet from my parent company that I filled out regarding exactly what we needed to present to the theatres so they knew what we expected regarding late seating, calls, etc.

17

The Green Room / Re: Your First Theater Crush

« on: Nov 01, 2013, 09:45 am »

I performed in a school competition in 9th grade that was a state-wide thing (Not forensics, but a religious school one) A friend and I did the Mrs. Danvers/New wife suicide scene from Rebecca. We won 1st place, and it was in that moment that I knew this is what I was going to do for the rest of my life. (of course, I don't act now...but I'm still in it )

18

Employment / Re: Leaving a difficult situation just before Opening...

« on: Nov 01, 2013, 09:41 am »

They (the cast and production staff) are already high and dry. Leave. Flee. I learned the hard way in a show I worked a long time ago that the stress you are describing here just is not worth it. Especially if your initial payment hasn't been made. I'd guess you can probably write it off, you'll never get it.

I've also learned to avoid working with a director/producer. The jobs are so different that they shouldn't be done by the same person. Or a married couple (one directs, one produces. In a battle, they'll side with each other, not you.).

Leave. Flee. Good luck, it's not a fun situation to be in.

I know this was a few months ago, but I completely agree. I was just in a very similar situation (producer/director, company that was running on skeleton crew and not really keeping things together, suddenly expecting me to do A LOT more than what I was prepared for and available, etc) and it was a mutual decision that I leave. I learned the hard way in knowing when to get out, and when not to put all your eggs in one basket.

19

Tools of the Trade / Re: Virtual Callboard

« on: Aug 15, 2013, 10:26 pm »

Did you do a search? because I remember at least two discussions about this, one relating to the system at the USITT in Long Beach, and one a general discussion by some folks who were playing with it.

I did, and both were back from 2008/2010, which really weren't helpful, it was a lot of "I'll check it out." Also, they've done some major overhaul since then.

20

Tools of the Trade / Virtual Callboard

« on: Aug 15, 2013, 03:53 pm »

Hello everyone!

I did a search on the site, and couldn't really find any up-to-date info, but I am wondering if any of you could give me a testimonial and opinion of Virtual Callboard. My company is seriously considering switching over to it, but we wanted to get a firmer idea of what the current theatre community uses. I met with the creators at USITT this year, and was really impressed with what they have done with it and plan to do with it, but we'd like some real-world opinions. If anyone also has another site/system that they like that they'd be willing to share, I'll take that too. Thanks in advance!

21

Employment / Re: UPTA: Full Prompt book or no?

« on: Feb 09, 2013, 10:34 pm »

So...Central BBQ was an awesome choice. And the portfolio was an awesome idea also. Thanks!

22

Employment / Re: UPTA: Full Prompt book or no?

« on: Jan 31, 2013, 07:39 pm »

Thanks Bex!

I will assemble  a "portfolio" book with my best work and show photos. I think that will get their attention. I've been to UPTA before, and I do EXTENSIVE research on their registered companies page. I've cataloged them, and have a spreadsheet I can quickly write on with my ipad when I get there. I know about the slots: it was a pain in my butt when I was there the first time. I'll time manage better for this one.

and Central BBQ, I most definitely will. My mouth is watering already.

23

Employment / Re: Websites

« on: Jan 31, 2013, 01:28 pm »

www.mercedescoley.com

24

Employment / UPTA: Full Prompt book or no?

« on: Jan 31, 2013, 01:25 pm »

Hello everyone!

I'm leaving for UPTA next weekend, and I was wondering what the consensus was regarding prompt book at cattle-call conferences. When I have gone before, at best, they flipped through it while looking at me. I was wondering if a "paired down" version is available, as in, that we bring a book, but with examples from each section to prove that we know what we or doing. Or even a "portfolio" of paperwork; a combination of a few shows in a single binder.

I know that if we are attending these it is assumed we can create a prompt book and run a show, but I was wondering if trying to pair down the bulk is a good idea. I also was planning on bringing my ipad, so I can show the full book in electronic form.

25

Tools of the Trade / Re: Backstage pants

« on: Jan 11, 2013, 01:20 pm »

I like the Dickies college pants for girls. They have two back pockets, 2 front pockets, and a small hammer strap.

Honestly, and this is going to make me seem like a crazy nerd, but the gadget leg holster from think-geek is amazing. It holds everything you may need. But a cheaper version is a server apron. You can hold everything, and it keeps all your stuff out of your way while you work. It takes the stress off of finding the perfect pair of pants off of your thoughts, too

26

Tools of the Trade / Re: Favorite Bag

« on: Jan 11, 2013, 01:16 pm »

OK so I have a tackle box that I use for my kit, but sometimes I just need my laptop script etc, but had a difficult time finding the right one that could hold enough, wasn't freakin expensive, and rugged enough.  I have found it from a company called Think Geek, it's called the Bag of holding.  It holds EVERYTHING!  http://www.thinkgeek.com/computing/bags/aaa5/ 

Anyone have one they love?

I just got one for Christmas. Holy cow it's awesome. It holds a full prompt book, my computer and it's gear, my camera and it's gear, plus a mini sm-kit that has all essentials I might need quickly.

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Stage Management: Plays & Musicals / Re: Fight Notation

« on: Jan 11, 2013, 01:13 pm »

I also have old-school choreography sheets that I can use when the time allows. Sometimes, if I'm working for a theatre that still likes hard copies, I transcribe the videos to sheets so they have them for future use if needed.

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Stage Management: Plays & Musicals / Re: TERMS YOU NEVER HEARD OF BEFORE

« on: Jan 11, 2013, 01:03 pm »

Two terms that were complete mysteries to me early in my career, both related to understudies, and neither of which I experienced in 2 years off broadway, but are commonplace in larger regional theatre and Broadway due to contractual obligations:

Stuffers - those little slips of paper "stuffed" into the playbills that inform the audience of a cast change.  (Typical language: At this performance, the role of xx, usually performing by Actor One, will be performed by Actor Two).  I had no idea this things were stage management's concern, and in actuality, they can be a big logistical project.  Some shows create them on an as-need basis, printing, copying and cutting them day-of.  On broadway and on the road, entire closets or road-cases can be devoted to storing pre-prepped stuffers for any given understudy scenario.

In/Out (also heard it called the "Daily", the "At This Performance"): A document prepared by stage management to inform the cast, crew and staff of the theatre of a cast change.  The name comes from the columns in the document indicating which actor is "out", which understudy is "in" and the roles involved.  Often will include any other changes to the show, additional rehearsals, the conductor per performance.  Its posted on the callboard, distributed to department heads and usually read as a part of the half-hour call.  I've worked in theaters where this document is prepared only when an understudy is on, and in theaters where is is distributed every performance regardless of whether an understudy is on or not.

This is so true. I've heard these terms a lot on tours. I've also heard terms for moving scenery aka "0 and 10" positions. "0" is when it is in in it's active/onstage position, and "10" is when it is in its home/offstage position. I heard this on one show I shadowed, and when I used them on another tour that I was shadowing, they seemed impressed that I knew what that was NETWORK.

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Stage Management: Plays & Musicals / Re: Assistant Stage Manager Paperwork

« on: Jan 11, 2013, 12:59 pm »

I agree with the travel light idea. When I am asm-ing, I usually try to keep all backstage-specific paperwork onhand at all times, and ready to be edited as needed (I work a lot from my ipad, so I have all of them in a way that I can "write" on them and then actually create them when I am back at my laptop. I also have at least one copy of the script in both digital and hard copy forms for being on book and keeping track of line and script changes (I do a lot of Shakespeare). I usually also have a copy of that day's schedule and weekly on hand so I can answer basic scheduling questions if the SM is busy.

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Employment / Re: SETC

« on: Jan 11, 2013, 12:50 pm »

I've gone and found work, but not as a union member, and I don't remember there being much, if any, union work offered to be honest, most of the positions are for non-union or students.

This. SETC is so late in the game, they are usually there to fill out the rest of their production teams, mainly internships and general technicians. There was next to no AEA there. They are mainly catering towards students trying to find summer work in-between semesters. The workshops and seminars are even geared towards youngsters. The SM workshop I went to was how to set up a prompt book and what should be included. So, it's a good conference for experience, but not for professionals, especially at the 200-dollar price tag.