Messages

16

Stage Management: Plays & Musicals / Re: Run Sheets

« on: Mar 12, 2005, 11:32 pm »

As ASM, I don't usually bother updating sheets until we tech thru the show at least once... which never happens earlier than the 2nd day of tech.  Personally, I hate giving out new paperwork before a performance without having the benefit of a run thru (ideal) or a chunk of rehearsal time for the crew to really look it over well.  I don't want to find that I've *gasp* made an error in translating the handwriting of a crew member which has caused a shift confusion DURING the show in front of an audience.  I usually hand back the previous version (with crew members notes) with the updated version just in case they need to refer back to something they wrote that didn't get translated correctly.

In my experience, I find that updated run sheets aren't really used by crew for small to minor changes.  Even though I'll bust my butt to get them done, in reality, my crew members don't refer to them.  What I think is most important about run sheets is that even if you assume that all of your crew members know exactly what they're doing with their older, scribbled on run sheets, part of your job is to make sure that everyone on your team (including yourself) is easily replaced.  So while Joe on the fly rail is perfectly competent and fine with all of his fly cues, his hand written crib sheet might not be the best thing to give to Betty when Joe breaks his arm and needs to be replaced at half hour.  I say let the crew use what works for them, and works for the show... but you need to be prepared with all the information of everyone's tracks - in a nice, easy to understand format - not only for archival purposes, but for emergency purposes as well.

Speaking of formats... I'd love to see some more examples of run sheets on the site.  I'm really not in love with mine and I'm looking for something a little easier to understand for someone not familiar with my show.  Whatcha guys got, hm?  

17

Stage Management: Plays & Musicals / Paper Tech

« on: Feb 26, 2005, 03:33 am »

I haven't seen too many professional theatres willing to cough up the money to provide the staff to spend any significant amount of time dry teching.  I get one regular rehearsal onstage (which is mostly a spacing rehearsal to adjust the blocking to the realities of the set) and then we start our 10 out of 12s the next day.  We get an hour of "shared time" before half hour is called for the shops to finish up their work and for the crew to prep the stage and figure things out.  If something is very complex, we'll push for more shift rehearsal time the morning of the first 10 out of 12.  If something is very very complex, then a select dry tech might be added to rehearse technical elements.  But even then, you don't want to have your crew, your board ops, etc. sitting there idle while you hold a conference with the designers to figure out where they think cues should go... you should have an idea of what should happen going into this tech or else you're wasting time and money.

It is much more likely that the SM will sit down with the Lighting Des., Sound Des, and the Director (all of whom are paid lump sums, and the SM usually doesn't go into OT doing this) to talk thru the show.

18

SMNetwork Archives / Calendar programs on PC's

« on: Dec 28, 2004, 03:58 am »

By all means, share the tips and tricks!  I love learning new things about Excel

19

Stage Management: Plays & Musicals / Drugs, anyone?

« on: Sep 28, 2004, 01:00 am »

Yes, yes... putting something up your nose is not an ideal situation.  But there are directors and actors who will do anything for the sake of their art and forget that when you get down to it, we are just playing an expensive game of "make believe".

I did a show where one actor was supposed to watch another actor pull out some coke, cut it, and snort it.  This theatre has had to do this before and they use this vitamin powder... which of course I can't remember the name of... which is harmless to injest (they had some supporting research about this).  The problem, as others have suggested, is that your nasal passages aren't necessarily designed to accomodate powder and can become irritated by this action.  That's something you just aren't gonna get away from.  Another thing I've heard of is that instead of sniffing the powder up, the actor actually blows out hard enough to blow the powder away, making it appear that he/she sniffed it.

I'll ask the prop dept. what the name of that powder is tomorrow and get back to you.

Hope this helps!

20

Stage Management: Plays & Musicals / Gunmaster -- any experience?

« on: Aug 17, 2004, 02:26 pm »

That's a tricky situation, but I wouldn't recommend taking the prop home.  Even if done with the best of intentions, that situation just invites problems.  What if you forgot it one day?  What if something happened to you and you couldn't make it to a show?  What if you were late due to circumstances beyond your control?

For the same reason a prompt book should never leave the theatre (or shed as it were   ) props/costumes/etc. should also never leave the theatre.

Good luck!

21

Stage Management: Plays & Musicals / Copying scripts

« on: Aug 09, 2004, 03:19 pm »

I would find this situation extremely frustrating.  I've very anal about my paperwork and my book and can't stand it when things aren't "pretty" or aren't exactly as I like to have them... I know, I have what we like to call "the problems"

Anyways, if they won't let you photocopy the script, see if they'll let you destroy the book.  This would be a very time consuming process but if I were in your situation I would probably pursue this vs. having to keep my prompt book in a 5x7 script.

Decide where you would like to have that 5x7 block of script oriented on the page.  For simplicity, let's just say you'd like it smack dab in the middle.  Grab a stack of white paper and cut out a 4.5x6.5 box in the center.  Take one page of your script and paste it over the hole.  Voila, you can see both sides of your script and you have room to write all around it.  I think you get the point.  If you're working for a place that needs to return the scripts after your production, you of course will not be able to destroy a copy to do this.

I'd probably talk to the producers again to figure out what the concern is here.  What if you suggested that you make 1 photocopy for your book and then gave it to them to destroy after the show closed?  Of course, they'd destroy all records of their production, but maybe they'd go for it.  After all, if they're returning these scripts after the show anyways, they'd need to return your one and only copy of the prompt book.  I've never worked for a theatre that had this kind of restriction and I hope I don't have to anytime in the near future!

Good luck!

22

Stage Management: Plays & Musicals / Blocking

« on: Aug 08, 2004, 03:54 pm »

I use the number system to record blocking.  Like smejs, I also have my script page on the left hand side so I can have a clean page on the right (I'm right handed).  

It's also nice to make a mini copy of your groundplan and to photocopy it on the top of your blocking notation pages.  You can mark starting/ending points of your characters for each page of dialogue.  That way, when the director says he wants to pick up on page 68, you'll know exactly where everyone should be onstage with just a glance at your book.

I usually skip some numbers when taking blocking to allow for inserts of new blocking.  For example, if I take a note of blocking that is near the top of the page, I might label it number 2.  If the next piece of blocking is near the bottom of the page, I might label it number 7.  That way, if things get added before, in between, or in the middle of those numbers, I've got some leeway.  I think of my pages in counts of 10 for blocking, if a note is taken near the middle of the page, that's in the 5 range, at the top is 1 and at the bottom 10.  I hope that makes sense.

There are a million ways to do the number thing though.  I know people who do things in multiples of ten, so they might have a number 20, then the next note is number 30... if something gets added in the middle, it's 25, etc.  I've also seen people who just number in order when they take the notes and if something needs to be added, they mark them 1.1, 1.2, 1.4, etc.

I agree with ChaCha though, I really don't like taking blocking.