151
The Green Room / Re: 10 things actors can do to get off to a good start with a stage manager
« on: Jan 15, 2010, 11:16 am »
10. Please and thank you are the magic words.
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152
Stage Management: Plays & Musicals / COMMUNICATION: Describing Audience Reactions in Performance Reports
« on: Dec 14, 2009, 12:01 pm »
My producer requires me to describe how the audience reacts to each performance. I find myself using the same phrases over and over as I have only come up with so many ways to say they enjoyed the show or were vocally responsive throughout or there was applause after each song or conversely that they were quiet and didn't seem to enjoy the show. What phrases do you typically use in describing an audience? What is your typical approach in describing the mood of the house?
153
Tools of the Trade / Re: Random, household things, you use/keep on stage.
« on: Nov 30, 2009, 09:28 am »
Tennis balls plus a little bit of soap and water remove scuff marks better than anything else I've ever seen.
154
Stage Management: Plays & Musicals / Re: Who is organizing your promotional appearances?
« on: Nov 29, 2009, 10:11 am »
My experience has been that PR sets the events up directly with the actors/directors but cc's me on all correspondence so that I'm aware of the scheduled events. Often our PR person will ask me what our schedule is and what days I would recommend, but overall I would say I'm on the periphery of the loop when it comes to PR.
On some of my past holiday shows, though, there have been tv spots that we've filmed live at the theatre for a morning program, and I had to be there as the SM. We were all given notice well in advance and had a meeting that involved me, production management, and PR. I then communicated the info (call time, scenes we would shoot, etc.) to the actors involved. But again, this was all discussed and negotiated well in advance.
On some of my past holiday shows, though, there have been tv spots that we've filmed live at the theatre for a morning program, and I had to be there as the SM. We were all given notice well in advance and had a meeting that involved me, production management, and PR. I then communicated the info (call time, scenes we would shoot, etc.) to the actors involved. But again, this was all discussed and negotiated well in advance.
155
Employment / Re: Interview Questions
« on: Nov 06, 2009, 08:45 am »
What is your greatest strength as a stage manager? Your greatest weakness?
I remember getting these two questions in one of my earliest interviews. I was prepared for the first, but not the second.
Matthew has covered most of the other questions I've been asked in interviews.
I remember getting these two questions in one of my earliest interviews. I was prepared for the first, but not the second.
Matthew has covered most of the other questions I've been asked in interviews.
156
Stage Management: Plays & Musicals / Re: Plotting out scene shifts
« on: Nov 02, 2009, 08:57 am »but if a production manager, technical director and scenic designer design, build and okay a set to be built that doesn't fit in the theater, or can not be changed in a reasonable amount of time . . . (Since where I work now, the set is usually underway before rehearsals begin) . . . then there is very little I can do during the rehearsal process of tech to make it happen.
I've run into this problem before. In one case I asked a question with the TD in a meeting during my prep week and caught something that he and the scenic designer hadn't thought it. It was early enough in the process that they were able to redesign where the piece would be controlled backstage so that the shift would be possible within the size of the crew I already had. In other instances, we've either added crew or the producer has opted to rider AEA actors for set moves.
157
Stage Management: Plays & Musicals / RUNNING: Plotting out scene shifts
« on: Nov 01, 2009, 08:53 am »
There was an interesting conversation in a recent production meeting for my current show. We were talking about the set, and the scenic designer asked about the backstage crew so that he could start plotting the scene shifts and making assignments. The producer stopped him and said that the stage manager (me) would create the run sheet and make all crew assignments. The producer told the scenic designer that I would work with him and the director to make sure that I designed the shifts in such a way that fulfilled their artistic vision of what they were looking for in the shift but that I was the one ultimately responsible. The scenic designer was delightfully surprised that I would be undertaking responsibility for plotting out the scene shifts. This got me wondering if there was a standard for who is responsible for designing transitions/creating the run sheet. I've always created the first draft of a run sheet based on conversations with the director and scenic designer, met with them to revise before tech, and then revise as necessary during tech. What has been your experience in who plots out the scene shifts?
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158
Stage Management: Plays & Musicals / Re: Doubt
« on: Oct 31, 2009, 08:33 am »
It will depend on your production. When I did it, we had an automated wagon for the office and winched wagons and fly pieces for the other scenes. It is a rather quick show (ours was 1 hour 25 minutes) but it has 8 or 9 scenes, each of which requires a scenic transition. Father Flynn does have a quick change, and our production didn't have a lot of hand props but did have a ton of dressing in the office. Even with all the transitions our tech still flew by and went rather smoothly once we got the timing of the office wagon down.
It's a very emotionally charged piece for the actors, so just stay alert of their needs throughout the rehearsal process/run.
It's a very emotionally charged piece for the actors, so just stay alert of their needs throughout the rehearsal process/run.
159
Stage Management: Plays & Musicals / PRE-PRODUCTION: What is your prep week style?
« on: Oct 23, 2009, 09:07 am »
I'm in the midst of my prep week for Camelot and recently I was a guest in an SM class that was discussing pre-production, so it got me wondering about other SM's approach to their prep week. Do you work from home, the theatre, or a combo? Do you work from a checklist? How many hours would you estimate that you work during prep week? Do you call your cast or just email them?
I have a checklist that I've adapted from one I got from an SM I worked with when I was an intern. I've added things throughout the years as new things have come up during the different shows I've worked on. I tend to work primarily at the theatre, though I may spend a morning or two at home working in my pajamas before heading in for the day. I would say I average about 25-30 hours of prep work (with an assistant) when I'm working on a straight play and around 45-50 when I'm working on a musical or a technically complicated play. And I always call my actors but will also send the schedule by email.
So what's your prep week style?
I have a checklist that I've adapted from one I got from an SM I worked with when I was an intern. I've added things throughout the years as new things have come up during the different shows I've worked on. I tend to work primarily at the theatre, though I may spend a morning or two at home working in my pajamas before heading in for the day. I would say I average about 25-30 hours of prep work (with an assistant) when I'm working on a straight play and around 45-50 when I'm working on a musical or a technically complicated play. And I always call my actors but will also send the schedule by email.
So what's your prep week style?
160
SMNetwork Archives / Re: Multitaskers are "Lousy at Everything"
« on: Sep 04, 2009, 10:14 pm »
The NPR program on this subject that ScooterSM mentions can be found here.
161
Stage Management: Plays & Musicals / MORALE: Keeping up morale when the house is small
« on: Aug 30, 2009, 04:18 pm »
Whether the economy is keeping people home, the play is obscure, it wasn't marketed well, etc, I'm sure at some time we've all met with small houses and the disappointed actors that come with it. How do you keep the morale up in a company when they're playing to a house that's only at 10-20% of capacity (or smaller)?
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162
Stage Management: Plays & Musicals / Re: Contact Sheets
« on: Aug 26, 2009, 06:45 pm »
I don't typically put actors' phone numbers into my cell phone. I make a wallet card that lists the actors' preferred contact number and reference the card when I need to call someone. However, I have been known to program the phone numbers of my chronically late actors into my phone to save myself a little time.
163
Tools of the Trade / Re: Twitter.
« on: Aug 20, 2009, 01:29 pm »
The New York Times just did an article on Next to Normal's use of Twitter as a marketing tool: It's Broadway Gone Viral. It's fascinating how they used the site and they do attribute their boost in ticket sales to Twitter (well, that and their 11 Tony nominations...)
164
The Hardline / Re: work hours report
« on: Aug 18, 2009, 08:27 am »
I agree about calling AEA, but out of curiosity, what type of AEA contract are you working under on this show?
165
Stage Management: Plays & Musicals / Re: PEOPLE: Performer is creator
« on: Aug 03, 2009, 09:47 pm »
I'm currently working on a one-man show where the actor is the writer of the piece. He's been doing the show once every year or two over the last ten years. I worked on a one-woman show earlier this season where the actor was also the writer of the piece. It was a new production that had been work-shopped once.
On my current show, I've worked with the actor and the director several times before. When we get to a natural stopping point near a break, I call the break (after checking with the director) and they kind of take a break but often continue their dialogue as ideas come to them. My asm and I are free to take our breaks, but I usually hang out and listen. However, the director is really good about telling me anything that they come up with over the break. And he is really relaxed and our 10s are often 15s. For me, as long as the actor is happy, I just go with the flow.
On my show earlier this season, I didn't know the actor/playwright or the director. They were a bit more formal about the breaks, and I called them like I would in any show. The actor always had the freedom to tell me if she needed one earlier/longer than what was called. And as a side note, she had an uncanny sense of time and knew when an hour twenty had passed and we were due for a break without looking at a watch.
In both shows, I'm keeping careful track of the cuts/changes that are being made to the script so that the actor/writer and the theatre have an accurate version of the script used for the production. I also find that while the relationship with the actor/writer is very professional, it's a lot more personal than when working with a larger cast. In terms of show maintenance, on the show I did this spring she would riff and try new things, but she (and the director) had me keep an eye on pace. Just keep an open dialogue with the actor and the director.
Keep us posted; I hope all goes well with your show!
On my current show, I've worked with the actor and the director several times before. When we get to a natural stopping point near a break, I call the break (after checking with the director) and they kind of take a break but often continue their dialogue as ideas come to them. My asm and I are free to take our breaks, but I usually hang out and listen. However, the director is really good about telling me anything that they come up with over the break. And he is really relaxed and our 10s are often 15s. For me, as long as the actor is happy, I just go with the flow.
On my show earlier this season, I didn't know the actor/playwright or the director. They were a bit more formal about the breaks, and I called them like I would in any show. The actor always had the freedom to tell me if she needed one earlier/longer than what was called. And as a side note, she had an uncanny sense of time and knew when an hour twenty had passed and we were due for a break without looking at a watch.
In both shows, I'm keeping careful track of the cuts/changes that are being made to the script so that the actor/writer and the theatre have an accurate version of the script used for the production. I also find that while the relationship with the actor/writer is very professional, it's a lot more personal than when working with a larger cast. In terms of show maintenance, on the show I did this spring she would riff and try new things, but she (and the director) had me keep an eye on pace. Just keep an open dialogue with the actor and the director.
Keep us posted; I hope all goes well with your show!