Messages

151

Students and Novice Stage Managers / Re: ASM??

« on: Sep 02, 2007, 07:45 pm »

It sounds like you have a great opportunity to introduce people to the profession.

Everyone has their own style of working, so you'll get a ton of different answers to this question.

Personally, I have one ASM for Stage Left, and one for Stage Right.  One of those ASMs will work with props, the other with costumes. . . .including securing rehearsal pieces, generating running sheets, etc.  If you did this, you'd probably have to provide them with a template for the paperwork assigned to them.  Lead by example.  Allow them the freedom to develop their own styles of stage management, and provide a supportive environment for them to learn.  Suggest they do some reading on the subject before starting rehearsals (this website is a great resource and sounding board), and make sure they are prepared for the first day of rehearsal.  Sincere compliments and advice are usually a great way to support good choices.

And, of course, keep it fun!

Let us know how it goes.

Paul

152

Students and Novice Stage Managers / Re: High School Musical

« on: Aug 30, 2007, 11:50 pm »

Don't get nervous over the amount they are spending on the show, how many cast members you have, etc.

It still the same process, just with a few more people thrown in.  Delgate responsibilities, stay calm and cool at all times, and have fun with it.  Sometimes trial by fire is the best way to learn, and you'll be just fine.  I promise.

153

Stage Management: Plays & Musicals / Re: PSMing vs. ASMing

« on: Aug 30, 2007, 10:36 am »

yes ASMs just do what they're told.  they don't have to make command decisions.  there's more grunt work, but less stress.

I don't agree with that.  ASMs are the ones on deck who have to deal with a problem when something goes wrong, which requires a great amount of maturity, ability to remain calm under high stress, and a high level of decision making.  The PSM can't deal with everything, . . . When I PSM, I always give my ASMs sincere thanks because I know they are on the front lines while I am isolated in a booth or at a console on the side of the stage.  I have to trust them to make decisions while I'm in the midst of calling LX, spot, rail, and deck cues, paging performers, and following sometimes very difficult music.  ASMs may be dealing with hundreds of performers once you add principal singers, chorus, supers, dancers, gymnasts, and everything else (props, elaborate costumes, quick changes, etc.) that goes into making opera the spectacle that it is.  Stage management is a team effort; try not to underappreciate or underestimate your ASMs. 

And if, as an ASM, you are "just" doing what you are told, step up your game.  There's a lot more that you could, and should, be doing.  You are not just there to make copies and coffee.

154

Stage Management: Plays & Musicals / Re: PSMing vs. ASMing

« on: Aug 29, 2007, 10:59 pm »

I'm ASMing an opera right now, and I'm actually finding it a lot easier than being the PSM.  I don't have to worry about scheduling, rehearsal reports, etc.  And, it's TURANDOT, which I had no idea was so beautiful.

155

Students and Novice Stage Managers / Re: Notating a Dance Sequence

« on: Aug 28, 2007, 12:28 pm »

Just my opinion, but I think it's absurd for a choreographer to expect Stage Management to fully notate dance sequences.  I'm all about jotting down notes for your own purposes (The general picture, important moves, etc.), but the industry standard is that a dance captain/assistant is assigned and takes notes.  And according to AEA, the dance captain gets paid to do this, and know their stuff (the dancers also get paid to know their stuff, but that's a different story).

I would equate it to the lighting designer expecting me to jot down focus notes.  That's what an Assistant Designer and/or Master Electrician is for.

From looking at a performance, I can tell if someone is off step (or in my analogy if a special is out of focus or out) but Stage Management should not be responsible for running a brush up dance rehearsal from his or her notes (or replacing a burned out lamp).  If you don't draw the line, you are doing too much and others aren't doing their jobs.  I think we are all used to stepping up when the need arises, but sometimes we do more harm to ourselves by taking on the world.  It's not our job to do everything, and if you try you'll burn yourself out.

156

The Hardline / Re: violation

« on: Aug 26, 2007, 12:56 am »

loebtmc - no offense taken . . .I was just relating my story, which admittedly is based on one incident. 

However, I don't believe that the staff of Equity, or Equity as an entity, is charged with doing whatever it's members request.  I do say that as a respectful disagreement to a very common view. 

On an organizational level, I think it's interesting to note that the Business Reps are unionized separately from Equity (I know this because I interviewed and was offered a Business Rep position).  If the Business Reps need their own union to protect them from AEA, I have to question the organization as a whole.  It's all we've got, and I fully admit that without AEA we, as artists, would be trampled on and there would be no safety guidelines, healthcare (and so on), but I do think that AEA is seriously flawed.  At the end of the day, who is actually watching out for YOU?  My mistrust of AEA, in spite of my support in the lack of something better, leads me to to believe that I am the only person truly watching out for my own best interests, and if I were presented with the situation hbelden writes about, my own experience would cause me to ask myself if I was willing to possibly ruin any chance of a future with that company in order to report a tape which may or may not be improperly used.  If they were selling it as a DVD in the lobby, then I'd have a problem with it.  If they are preserving the production for future remount, or even to gain possible future financial backing for that particular remount, I personally would not put my relationship with the producer on the line for that.  If it was a safety issue, an issue where the producer was under reporting actors salaries to the union (some producers do this to save on pension and welfare fees), or a producer was not following hourly overtime payment guidelines, breaks, etc, I would absolutely report it.  In this case of intellectual property, I personally would not, especially if I had a good relationship with the producer and expected future employment.

157

The Hardline / Re: violation

« on: Aug 24, 2007, 01:41 am »

I don't think this is as clear cut as some posters make this out to be.  I've tipped off Equity before about violations and the Business Rep flat out told my employer it was me, and I lost my job.  It's not a great situation to be in.  As much as I'd love to believe Equity always has the best interests of it's members in mind, it is in Equity's best interest to have as many theaters open, hiring union members, as can possibly be, because they are collecting your membership fees and dues.

Unless you have clear cut proof (i.e. the taped performance in your hand), I wouldn't say anything.  Your employer can always deny they taped the performance, your name can get leaked (or assumptions can be made), and then you are screwed . . .and unless Equity has proof, they aren't going to do anything.  That was my experience.  I wish our unions were stronger and truly held management responsible, but the Business Reps at Equity are overworked and underpaid (especially the developing theaters Reps, which sounds like the ones you'd be dealing with).

158

Students and Novice Stage Managers / Re: Notating a Dance Sequence

« on: Aug 24, 2007, 01:21 am »

That's what a Dance Captain is for.  From my experience, it's never been my responsibility to write down dance steps, and unless you are a dancer or have knowledge in that area, I wouldn't offer to notate it.  It will be a TON of scribbling in your score and unless you have the vocabulary of a choreographer, it will just frustrate you.  Or, if you have an inexperienced choreographer who doesn't use proper terminology, you shouldn't take it upon yourself to translate it.  My two cents.

159

SMNetwork Archives / Re: Happy Stage Management Memories?

« on: Jun 29, 2007, 12:56 pm »

It was the Chattanooga Symphony and Opera. 

160

SMNetwork Archives / Re: Happy Stage Management Memories?

« on: Jun 28, 2007, 01:16 pm »

I think one of the best feelings I've had while calling a show was during a production of RIGOLETTO.

I was in Chattanooga, TN, and we had rented a huge set from New Orleans, splendid costumes, and had a great crew. 

I called the first fly cue for the house curtain to fly out, and upon seeing the set the audience gasped, then applauded.  It just made me very proud of all the work we had all put into the show, and I just relaxed into the show from that point forward.

161

Stage Management: Other / Re: cold calling an opera

« on: Jun 15, 2007, 02:02 pm »

I've been an emergency sub before . . .I agree with Jess, it can be a lot of fun

162

Students and Novice Stage Managers / Re: How do I audition for SM at a college?

« on: May 24, 2007, 09:48 am »

I agree with earlier posters on this thread . . .although most colleges are pretty up front about what they want you to bring.

DePaul didn't want me to bring anything. . . Webster asked me to bring a production book, but I think it was mostly about the interview . . How well you present yourself, you well you can articulate your ideas and how you would react given a certain situation.

163

Stage Management: Plays & Musicals / Re: Traditions in the Theatre

« on: May 22, 2007, 11:09 am »

In certain opera companies I've worked with, purple is not allowed as a color for a costume.
Peacock feathers were not allowed onstage in another (the evil eye in the feather)

I'm not saying I believe it, just passing along someone else's craziness.

I personally have a ritual before opening night that I learned from a Venezuelan soprano who was the most superstitious person I've ever met.  She kissed the hem of the curtain before we started (kissed her hand and touched the hem of the curtain).

164

Employment / Cruise Ship Recruiting Agencies

« on: May 21, 2007, 12:26 pm »

I just had an experience with an agency that recruits stage managers for Royal Carribean, etc.

I applied, they called me about three months later to set up an interview with the recruiting agency.  They had, during that time, lost my resume, so I resent it.

The interviewer did not call me on time, but someone else in the company called me two hours later to reschedule me for the following week, at which point I just passed on the interview entirely.  I felt like my time had been wasted, and I questioned the wisdom of having someone representing me who couldn't be bothered to call me on time. 

Has anyone else had successes or failures dealing with these agencies?  Why not just apply with the cruise line directly?

165

Stage Management: Plays & Musicals / Re: Dressing For The Part?

« on: Apr 04, 2007, 05:41 pm »

A great man once told me to always dress to meet the audience. 

How wise he was, as I had to walk out onstage in an emergency to address the audience one night.