Messages

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Students and Novice Stage Managers / S.M. Arts Conference 2014

« on: Mar 08, 2014, 11:59 pm »

Announcing the 2014 S.M. Arts Conference in Toronto, April 3 to 12.

Stage Management is an intricate web of personal, technical, organizational and life skills. The S.M.Arts Conference explores many aspects of our field and helps us to share our experience and knowledge with each other, whether during a course or in the midst of a chat. S.M.Arts continues to provide a comfortable environment for new and experienced Stage Managers to perfect their craft.  The Conference offers courses on basic skills, working in genres other than text-based theatre, specific roles in a production model, and other advanced topics.

This Stage Management Conference is for the student Stage Manager who wants to know more about their career choice, the Apprentice Stage Manager who wants to hone their skills and the experienced Stage Manager who is looking for diversification within their field. Registration is restricted to either working stage managers or those who have the goal of becoming a professional stage manager.

If you are interested, and within range of Toronto, please browse the website for date and course details.

http://www.stagemanagingthearts.ca

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Students and Novice Stage Managers / Re: Emergency Contact/Medical Info forms for Students

« on: Mar 02, 2014, 09:16 pm »

On_Headset - I agree that keeping track of who has chosen to return the form can be an extra step, but understand that the practical use of the information on this form is not for the stage manager, but for emergency medical personnel.  I keep an alphabetical list of who has returned the form on the exterior of the locked box they are stored in.  If a situation arises where an individual cannot respond or provide information to medical staff, the sealed envelope is (in theory) provided to the emergency responder.  I don't feel it would be particularly useful to provide them with an envelope containing a potentially blank form.

Regarding seeking out allergy information in advance, I have to say that working primarily in dance, food props occur far less frequently than in text-based theatre.  That's not to say that they don't exist - we have a co-production with the Royal Ballet of Christopher Wheeldon's "Alice's Adventures in Wonderland" in our repertoire, and there is a cupcake as a food prop.  Before purchasing cupcakes for the run, we asked all the dancers in the role of Alice if they had any allergies/intolerances/preferences. One of them maintains a vegetarian gluten-free diet, so we sourced cupcakes from a local bakery that satisfied these requirements, and actually used them for all casts. 

If I were working on a new creation that had any suggestion of the potential for food props, I would immediately take a poll of allergies and other restrictions among cast members.

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Students and Novice Stage Managers / Re: Emergency Contact/Medical Info forms for Students

« on: Mar 02, 2014, 09:15 am »

That's one step further than I would endorse.  In every circumstance that I am aware of, providing this information is voluntary; the most you can do is go to whatever length you feel is appropriate to lobby for compliance.  It is not appropriate to ask people to confirm that they are not volunteering. 

The only circumstance I can think of that might differ would be a commercial high-risk engagement (circus?), where the engager is required by its insurer to be able provide medical information in an emergency.  In this circumstance it would be a condition of the engagement contract.  Just speculating on that one ...

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Stage Management: Other / Re: Renting a Nutcracker set

« on: Feb 22, 2014, 11:50 am »

I'm in Toronto, Ontario - sorry to say I am not particularly familiar with the commercial rental options you will find in your area.  I wonder if you might try searching for ballet companies who have recently refreshed/rebuilt their productions of Nutcracker, and who may still have an older version available for rental.  Some companies I would suggest would be Boston Ballet, Cincinnati Ballet, and Alberta Ballet (based in Calgary, Alberta).  There is a professional school in Vancouver called the Goh Ballet that has a production, and their performance dates tend to be a bit later in December, not sure if the turnaround time is too tight. Another possibility is Ballet Jorgen in Toronto.  At least you're looking now, not in October ...

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Stage Management: Other / Re: Renting a Nutcracker set

« on: Feb 21, 2014, 03:51 pm »

What geographical area are you in?  Are you interested in just a single backdrop?  What kind of image are you looking for? So many Nutcrackers have varried design concepts ... what are the qualities/images that would work with the ACT I drop you might be able to use?  Overall dimensions?

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Students and Novice Stage Managers / Re: Emergency Contact/Medical Info forms for Students

« on: Feb 15, 2014, 10:54 am »

Canadian Actors' Equity Association provides every member working under contract with an Voluntary Emergency Medical Information form.  The individual is encouraged to fill out the form with basic info, emergency contact, insurance info, and relevant medical details such as prescription medications, drug allergies, chronic conditions, etc.  The form is sealed in an envelope, with a signature across the seal.  Forms are held securely by stage management, and are only accessed in the case of a medical emergency where the individual cannot respond to medical personnel (i.e. unconscious).  The envelope is returned to the member at the end of the contract.

These forms are voluntary, but I remind artists very clearly about the medical benefit of quick access to this information in an emergency.  I store ours in a locked drawer in one of our touring crates - easy to get to when we are at home in rehearsal, and always in the theatre when we are on tour.  It takes a bit of planning to ensure the forms are always in the same location as our dancers when smaller groups separate for outreach and educational performances, but it's just a matter of making it a checklist item.

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Employment / Re: Theme park work

« on: Feb 01, 2014, 03:36 pm »

If you are interested in pursuing a career in (or around) stage management, now is the time to switch positions to gain some Entertainment experience.  Having worked for three years in rides demonstrates that you are a trusted employee (a valuable thing to illustrate on a resume), but if you want to specialize in a more theatrical area, now is probably the time.  And I vote for stage hand over usher, if you have the choice.

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The Hardline / Re: How did you get your card?

« on: Jan 27, 2014, 05:21 pm »

I got my CAEA (Canadian Actors' Equity Association) card in July 1993, "bought" by Theatre Smith-Gilmour, for a tour of their production of "To Cry is Not So" to LSPU Hall in St. John's, Newfoundland and the Traverse Theatre in Edinburgh.  Had been working full-time as a stage manager for a modern dance company for several years, but as CAEA didn't cover much dance at the time, I had no apprenticeship credits.

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Employment / Re: Taking Apprenticeships after working as a Professional SM?

« on: Jan 21, 2014, 05:50 pm »

Think a bit into the future.  After you complete whichever contract you decide on (SM or apprentice), which one is going to convince a producer to hire your as you continue on with your career, apply for the next position?  I'm not suggesting taking a job because it will look good on a resume; more that the choice you make is a step down a particular path.  If the apprenticeship offers you experience with a set of conditions significantly different from your past work experience, it may be valuable.  If you think the gig in Chicago helps you connect to the community there, perhaps that's more compelling.

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Stage Management: Plays & Musicals / Re: CALL BOOK: Repeating music score - how do I mark cues?

« on: Jan 19, 2014, 12:14 pm »

I'm strongly in favour of "expanding" all repeated music in a stage management score (as explained by Babens and Lizzie) so that it is an accurate linear map of the music.  In the case of your example, copy the music notation for every instance of a repeat, and perhaps strike out the lyrics that are not being sung for the specific section.  If that doesn't appeal to you, I have sometimes chosen not to expand smaller repeats, but will follow a convention where cues marked above the musical notation are called the first time through, cues marked underneath are called the second time through.

If you expand repeats (da capos, codas, etc.), have a conversation with your music director so that you know how they will talk about navigating the music in rehearsal; bar numbers, 'first time' or 'second time' through, etc.

On a related topic, I know that following/relying on lyrics can be dangerous, as performers can occasionally skip to a different verse, but the musicians are not likely to adapt to unintentional spontaneous cuts.  I think that having repeats expanded in your score is safer.

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Introductions / Re: Hello to all

« on: Jan 14, 2014, 05:15 pm »

PSMKay,

Well, I started to work professionally when I was still pretty young, but I agree it is a long career (so far; more to come).  I don't think dance stage managers specifically have an easier time sustaining their careers.  It can actually be quite difficult if one tries to limit one's career to one discipline - I think I had a number of 'right place at the right time' circumstances that lead me to long company contracts.  Maybe any stage manager that is able to maintain a long relationship with the same company or producer stands the same chance of longevity.  I am working for a large company now, which means that some of the physical requirements are less than if I were still driving a van and loading shows regularly with less support, so that helps with wear and tear.

I have also not really found myself to be the type of stage manager that looks to move further up the administrative ladder.  I have done a fair amount of teaching and mentoring, but I still find immense satisfaction in the job I do now.

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Stage Management: Plays & Musicals / Re: SCENERY: Linoleum Floors for a touring show

« on: Jan 13, 2014, 08:31 pm »

Yes, most dance floor is stretchy (to some degree).  The thinner the floor , the more the floor can be stretched when it is laid.   Over the length of a 40' panel, it might be possible to pull another 2" or 3" out of it before taping it down.  Floors are often stretched when laid if they are older, or have creases or ripples that have become semi-permanent texture in them.  The problem is that the more you stretch a floor, the more you need to continue stretching it as you continue to use it.  Stretching a floor can distort it over time.

If you're still looking to lay a standard linoleum floor, I would recommend experimenting with some double sided tape (depending on what surface the lino will be laid on), then a line of tape on the top surface where panels meet.  Could you have a low-profile material around the outer edge of the lino to keep it flat (flat bar iron or steel)? 

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Introductions / Hello to all

« on: Jan 13, 2014, 08:20 pm »

Hello all,

I'm a stage manager who has worked predominantly in dance for the past 25 years.  I currently work with a large classical ballet company, but continue to freelance with smaller modern companies and independent artists.  I'm looking forward to contributing to discussions both related to dance, and other topics.