Messages

151

Students and Novice Stage Managers / Re: What I did over my summer vacation...

« on: Jun 11, 2009, 10:39 am »

My planned stage management gig was cancelled (recession/budget issues) so I am TD for a community theater production of Ken Ludwig's Shakespeare in Hollywood. It's my first time being responsible for all of the tech decisions, so that's exciting. We open in less than a month, so it'll be a fun experience.

152

Stage Management: Plays & Musicals / Re: SHOWS: NOISES OFF- AEA SM desperately in search of paperwork, assistance.

« on: Jun 11, 2009, 10:30 am »

I recently did sound design/sound board operator/stage crew for Noises Off! For rehearsals, most of the time was spent on Act II. Act III the second most time, and the least amount of time on Act I, which is closest to a regular play. Pretty much every actor was called for every rehearsal. It was difficult stopping and starting Act II, because so much of the Nothing On scene depends on the timing of the actors' lines onstage (hidden from the audience). Blocking also changed once the actors had real walls and doors. Taped outlines were better than nothing, but once the actors saw the real sight-lines and staircases they had to work with, they had to put extra effort in to their blocking and lines. So try to get the cast onto the set as soon as you can. And off book as soon as possible, this show really can't be done while holding a script.

I also recall a lot of effort being spent on the fire axe. We used a dummy prop instead of a real axe. Most of the actors frequently forgot that the axe is heavy, so they would swing it around and pick it up like it was a bunch of rubber and not 10+ pounds of metal. Once they consistently remembered the axe was heavy, the show improved.

I don't have any plots I can share, other than sound effects (very few effects, I'll gather that paperwork for you.)

Rotating the set is a big deal. We ended up having the set in three pieces: large center unit (6' wide x 8' deep), the downstairs doors unit (5' wide x 4' deep), and the upstairs doors unit (7' wide by 8'wide, an L shaped platform to allow for the "attic" exit). Each unit could be supported by itself, and was on its own casters. The units were hooked together with eyehooks. The central unit rotated in place. The downstairs unit was pushed upstage, then to the other side and rotated. The upstairs unit was pushed downstage, then to the other side and rotated. We had four sets of stairs that would be moved. Stairs were not on wheels. The complete rotation could be done with 3 people in about 8 minutes, with 4 people in 6 minutes.

Hint: get lots of extra sardines, they will get lost! We used fishing lures with the hooks removed. They looked ok, but not too realistic. At strike, we found sardines in the cushions, underneath the central set unit, in costumes.

Hint: the breakaway window caused headaches. We started out using double sided tape to hold it in place while waiting for the burglar. The tape wore out quickly. Eventually the ASM drilled two small holes in the plexiglass and simply hung the window in place. Then we had to train the burglar to "break" the window by hitting it high on the pane. The window did break in half late in the run.

Is there a Producer or Artistic Director you could talk with about the director? Good luck!

153

Stage Management: Plays & Musicals / RUNNING: "We have a 45 minute hold for the Obamas."

« on: Jun 04, 2009, 10:36 pm »

President and Mrs. Obama visited New York to see Joe Turner's Come and Gone. And even though "POTUS & FLOTUS" pulled up right at 7:55, stage manager had to hold curtain till 8:45 for added security and the massive (surprise!) ovation that greeted them. (From http://playgoer.blogspot.com/2009/06/barack-obamas-come-and-gone.html)

So, lots of interesting questions: What's the longest hold you've ever had to do? What's the most bizarre reason for a hold? How stressful would it be running a show for the President?

154

Employment / Re: Read your contracts carefully

« on: May 31, 2009, 08:11 am »

Here's a lame question to have to ask: For a show where you've been offered pay, at what point should I have a contract? Before any work is done I assume. Should we have contracts only for paid work? What about community theater? Should the contract include clauses about payment if the show closes early, or never even opens? Is there a normal way of getting paid? All at once after strike? Half up front, half at the end? Weekly? I'm learning all this the hard way, after my summer show got cancelled, after some work has been done, and without a contract.

155

The Hardline / Re: Theatres That Have Closed--Can You Say "Emergency?"

« on: May 31, 2009, 08:04 am »

The Gray Ghost Theatre Company in Manassas, VA has cancelled their July 2009 production of The Gray Ghost, a Civil War drama focusing on the life of John Mosby. I was the stage manager for this year's production (my first paid gig!). Pre-production work has started, auditions and casting have been completed. But with state and county grants down, the Board wasn't sure if using all available resources was wise, so they cancelled the show for the 2009. They hope to be back next year.

156

The Green Room / Re: How do you keep in shape?

« on: May 31, 2009, 07:57 am »

I've had good luck with a Wii Fit. It's a small platform (about 18" x 24") that has four weight sensors on it. Then you can do lots of various exercises (yoga, strength, balance games, aerobics games) on it. Now that's it's warmer out, I've been able to do bicycling and the pool. Another thing that is harder to do, but has been helpful, is cutting back on the carbonated drinks. I'm not obsessing over calories, but soda has a ton of calories. Since January I've lost about 15 pounds.

157

Tools of the Trade / Re: Blocking Software

« on: May 28, 2009, 09:47 pm »

For broad scene compositions (not what you're really asking, I realize) I use OmniGraffle. It worked quite well for getting the dance and scene compositions set for Pippin I did earlier this year. They are posted on my web site at at http://www.michaelclark.net/2009/05/pippin-at-prince-william-little-theatre/ under "Section V. Scene Compositions."

158

Tools of the Trade / Re: mobile printer

« on: May 19, 2009, 12:10 pm »

Are there any easily portable laser printers? I don't think I could ever go back to using an ink jet printer. Slow speed, smudges, ink running out at inconvenient times.

159

The Hardline / Re: Stage Manager's Association

« on: May 19, 2009, 12:07 pm »

Hi Erin,

Yes, I received your email. Thanks very much, I'm looking forward to reading through the SMA web site. I'm on vacation, so can't eavesdrop on the annual meeting this afternoon. Mike

160

The Hardline / Re: Stage Manager's Association

« on: May 12, 2009, 02:52 pm »

So what's the deal with being approved as a member of the SMA? Is it a manual process by someone at the SMA? Are they actually checking the references that I listed? That could be tricky, since they didn't ask for any contact info for the references.

I joined up yesterday at lunch, entered my credit card info, got an email a couple minutes later confirming my payment has been processed, but just now when I tried to log into the site, I got this message: "Your account has not yet been approved!"

161

Students and Novice Stage Managers / Re: Community Theater

« on: Mar 30, 2009, 06:08 pm »

A lot of the community theaters in my area staff shows through the Producer. I'd suggest starting with the generic contact for the theater. You may need to work your way up. Some places have more than enough people to staff a show, others will be delighted you are offering. Good luck!

162

Students and Novice Stage Managers / Re: Natural Disaster vs. Rehearsal?

« on: Mar 29, 2009, 07:36 pm »

Hmm, I'd guess the dates for the actual production are set in stone due to the school's academic calendar, so moving the opening night back a week or so isn't possible? Is the rehearsal location "safe" or is it near a region that may receive flooding? Have you kept in touch with the cast and crew during this time? I can sense the director getting antsy over losing at least two weeks of rehearsals only four weeks from opening. Can you encourage the cast to be entirely off book by April 6th, if they aren't already? Good luck, stay safe.

163

Students and Novice Stage Managers / Re: Stage Managers, Stage manager.

« on: Mar 24, 2009, 12:04 am »

I just had this happen to me today. I'm designing sound for a show, and caught myself just after I tried to help the stage manager with something. I had to tell myself "that's not your job on this show." It is interesting to see different people's styles on things.

164

Students and Novice Stage Managers / Re: Working with animals?

« on: Mar 16, 2009, 09:20 am »

It seems strange to me that someone would drop off their monkey to be used like that. Aren't monkeys expensive? That is a lot of trust on their end.

You might ask the director (or producer) if the theater group's (or the venue's) insurance will cover any problems that arise from the monkey. Or ask the director to be the handler during the show. Also whoever will be with the monkey on stage (the organ grinder?) needs to be very comfortable working with the monkey.

165

Students and Novice Stage Managers / Re: Working with animals?

« on: Mar 12, 2009, 11:19 am »

Make sure the animal handler knows what to expect as well. A few years ago I saw a production of the Wizard of Oz where the handler was under the impression that Toto should be given a hot dog to eat in the fireside scene with Dr. Marvel. Unfortunately, on stage opening night is not a good time to discover that the hot dog did not agree with the animal.