Messages

166

College and Graduate Studies / Re: Graduate School Question

« on: Feb 22, 2007, 09:09 am »

There's an awesome new child board in the Student & Novice forum dedicated to discussion of graduate and undergraduate SM studies.
It will include discussions related to your question, swellanore, regarding which schools are best. There are several ongoing discussions, andrea, about your many big questions about graduate school. Check it out!

167

Stage Management: Plays & Musicals / Re: Question about musical blocking

« on: Feb 22, 2007, 09:06 am »

Once I was blessed with a choreographer who turned in SM paperwork with step-by-step choreo notes with page/measure notation enclosed. I'm in love! But this is definitely not the norm.

I jot down as much detail as I can manage - sometimes stick figures end up in the margins. Usually shorthand is sufficient to remind the dancers of the sequence of steps. The dance in musicals is not usually so complicated as to require labanotation or anything really complex to make a movement record. If you aren't already familiar with dance terms, you should have a quick chat with the choreographer to learn basic dance language.

Here's an awesome musical dance trick - before rehearsal if possible, break the dance section into 8-count portions (you will have to be able to read music to do this; alternatively you could write down a chart to the side, though you'll have to be counting 8 instead of actually reading the music as you go through the sequence, which is not really ideal). Anyway, the first 8-count is A, the second is B, and so on. Now you can just jot down the series of moves that go in that sequence. Often dance in musicals matches an 8-count perfectly (where they'll shuffle 8 , turn and tap/walk 8 , kneel 4, etc) and you will be able to take all this down quickly because your score is already set up to absorb the dance notation quickly and accurately.

If I am working with professional dancers and/or if there is a dance captian assigned to the show, I might not take dance blocking specifically at all, except to note entrance/exits and general placement onstage. Usually shows like this are so big, I'm tracking principals and a huge chorus anyway, so the actual dance steps are well off my radar. This has never been a problem for me.

168

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

« on: Feb 19, 2007, 09:00 am »

I agree with nmno, Blahah - wear whatever you're comfortable in.
Not to minimize the work you're doing with your school, but I guess it is a little different when SMing is actually your job.
The techies in my high school all had t-shirts made that read, "When the going get tough, the tough get gaff tape." And they stank because they were high school boys. But we all thought they were the coolest - no loss of respect there (except we did wish they bathed more).
And like centaura says, considering the age of the people in the show, dressing up when in rehearsal among your peers might come off as more polarizing than polished.

Maybe you could add that little bit of professionalism and pride by dressing nicely on opening night.

169

Tools of the Trade / Re: latest toys...

« on: Feb 15, 2007, 06:01 pm »

Now that I've adopted a clear clipboard, I'll never go back.

I keep whatever I'm working on on the clipboard, but a schedule or contact sheet goes at the bottom of the clipped papers so that I can always see it through the back. It's like having two clipboards in one!

And for those of you who work with music stand lights (operas and musicals, usually), check this out:
http://www.kliplite.com/Cordless%20KLIP-LITE.html
These cordless clip lights are awesome, and can even clip on the top of a clipboard. Now I can grab my stand and dash upstage without tripping over or tearing out wires (used to happen often...)

170

Employment / Re: International Stage Management

« on: Feb 14, 2007, 09:07 am »

Liam, regarding finding work internationally -
It is not at all common for a company to bring in a stage manager from another country, but yes, it is done. Stage managers can certainly apply and get jobs in other countries, but you will be responsible for coordinating your visa/immigration paperwork - note that it is very different for every country. (For fun, check out the requirements US citizens to work in Russia sometime. You have to have a prearranged letter from the hotel you're staying at to present to the consulate just for approval to apply for the visa.) Sometimes the company will provide your travel and/or housing, but this would usually apply to inter-European travels (not US to Europe, or US to Asia, etc). It's just so expensive, you're practically spending the SM fee all over again to bring the SM to your country. When you take gigs in a foreign country, the tax paperwork is elaborate - you should definitely use an accountant at this point. You will be subject to all foreign taxes and fees, so you had better know what they are. You can have someone in the foreign company's finance office explain it to you, of course. The most common way to go international is to get on a tour or cruise, or occasionally to pound the pavement yourself in the international theatre community (opera might offer more opportunities for foreign work in general). Really, you apply for international jobs the same way you apply for domestic jobs. Just be ready to travel (ie have a passport) and be ready to look extra diligently for jobs in a country far far away.

The role of a SM is generally the same from country to country, but backstage protocol (and terminology) are different. While you will basically be undertaking the same responsibilities, procedures will probably be different - be sure you have spoken with the PM to know exactly what is expected of you. There are a few discussions around the site about working in different countries (Italy and the UK specifically). Do I need to say it? - you must speak the language of the country you're working in. There are some great British SM books that are easily available in the US - this might give you an idea of varying job duties.

Cable, opportunities for British students would be pretty much the same as for American students in the US. You are certainly eligible for the same opportunities we discuss around this site. You'd have to secure yourself a  student visa to enter the US, and you would not be able to get paid work while visiting the country (that would require a work visa, which is different - see a quick discussion of visas here: http://smnetwork.org/forum/index.php/topic,840.0.html, or visit http://travel.state.gov/visa/visa_1750.html). A work-study program through your university's student exchange might be an ideal way for you to get this experience.

171

Employment / Re: PSM and SM: what is the difference?

« on: Feb 13, 2007, 02:23 pm »

There's actually a great and extensive discussion of this question here:
http://smnetwork.org/forum/index.php/topic,931.0.html

I hope this helps to answer your question!

172

SMNetwork Archives / Astrology for Stage Managers

« on: Feb 11, 2007, 01:10 pm »

I've been working on this for a while, and hope you all will enjoy it. Remember, it's astrology - it's not perfect, but it's fun!
So... what's your sign, baby? (I'm a Gemini)
Aries
You have a natural leadership that makes the role of SM come easily to you. Your dynamic personality and strong ego (come on, admit it!) can keep a complex tech running along smoothly. However, you can step on a few toes with your super-confident attitude – and it usually surprises you when people take things the wrong way. You hate being told what to do, though occasionally you should slow down and listen to the carp with decades of experience under his tool belt. You are quick to come up with solutions to problems, and directors usually appreciate that you maintain shows consistently and with excellent quality.
Most likely to lead the parade to the bar after rehearsal.

Taurus
You are the epitome of patience, and never sweat the small stuff. You are content to rule over the theatre from behind your SM station, watching everyone hustle and flow as you calmly impose order over this chaos. People enjoy working with you because you always have your eye on the big picture. Sometimes your slow walk and quiet watchfulness are mistaken to mean that you are less than enthusiastic about your show. But those who know you best know the truth: you are a fierce defender of your production’s best interests, and you’ll win any shouting match if it finally comes to that. In fact, you’d really excel as a producer. When people need someone to put a foot down, they come straight to you.
Most likely to keep the company from giving out comps like candy.

Gemini
Your SM motto is “Communicate!” No one can top your skills at moderating discussion, passing along information, and keeping all members of the cast and crew in touch. Your paperwork is informative and lively. You are a true master at running production meetings. However, you might tend to debate issues longer than necessary because you can see all sides of an argument naturally – which sometimes leaves you caught in the middle. You tend to move quickly, and can jot down complex blocking on the first go.
Most likely to be the best cue caller on Earth.

Cancer
You adore the now-you-see-it-now-you-don’t illusion of theatre magic. You are definitely most comfortable backstage, under the blue glow of work lights. While you can guide a show competently through rehearsals, it is backstage where you really shine. You can call those visual or “feel” cues perfectly every time because you are always in the moment when it comes to performances. While you’re not one for the spotlight yourself, you love the warm-and-fuzzy feeling when a cast bonds and the audience gives a standing-O. You can tend to get sick easily, especially during a stressful tech.
Most likely to have the Mary Poppins Bag of kits – and to be called “Mom” by the cast.

Leo
You have the natural qualities of a mentor, and can guide a production from start to finish using sheer will alone. People naturally look up to you, and you take this and run with it (even when you secretly know you’re not quite sure what you’re talking about sometimes). Your showbiz motto could be “High Class, Baby!” You want everything done with no expense or effort spared – you’ll settle for nothing less than the best in all things. You’re extremely independent, but might do well to delegate more tasks to your ASMs. You secretly love the backstage gossip and can be quite susceptible to flattery.
Most likely to give speeches – about tardiness, show concept, backstage protocol, anything really.

Virgo
You are tops when it comes to organization. Even your prop tables are taped with perfect right angles. Your pencils are perfectly sharp and your paperwork is pristine (even if it takes you a while to file reports because you’re fussing with line spacing). Sometimes you can get impatient when the “creatives” are taking too long to debate character motivation or the exact shade of green that expresses the emotion of this scene. But you have saved the day more than once because while everyone else was looking the other way, you quietly put everything in order.
Most likely to guard your kit like a lion.

Libra
You are level-headed and patient – even when everyone around you is beyond stressed. Your calm demeanor makes you extremely valuable during crazy techs, and cast and crew alike a drawn to your easy-going friendliness. You are able to prioritize tasks and to defuse various crises as soon as they arise. You aren’t the perfect caller, or paperwork maven, or the master fixer. In a way, you are very good at all areas of SMing, while you don’t necessarily excel at any – except providing an enthusiastic but realistic outlook at all times.
Most likely to be the Go-To person for all things show related.

Scorpio
You just belong in the theatre. The drama, the craziness, the long hours, the nighttime schedule – it fits you perfectly. You become extremely attached to productions you’re working on, and are most likely to suffer from Post-Dramatic Stress Disorder after closing. But for each show you work, you give it your all. You work especially well with directors and actors because you appreciate the emotional demands of theatre. Measuring ground plans and making run sheets are definitely not your favorite activities – you’ll delegate these to your ASMs whenever possible.
Most likely to get involved in a show romance.

Sagittarius
You want the biggest, craziest, sparkliest shows you can find. Musicals are your favorite – with the glitzy costumes, the big sets, the intense cue sequences, and the glitter drops (love the glitter drops!). You enjoy theatre not for the emotional catharsis but for the pure entertainment factor. You are always the cheerleader for whatever production you are on, and can make people smile through even the most painful tech. Typical SM neuroses -– pristine paperwork, overstocked kits, impeccable call boards – are not for you. Sometimes people might accuse you of being a little slap-dash in your execution. But gosh darn it, you just love the theatre, and you’re guaranteed to give ‘em a great show every time.
Most likely to secretly want to be an actor.

Capricorn
You are the perfectionist SM personified. Not because you’re neurotic or naturally orderly, but for the pure challenge of it. You enjoy SMing because it allows you to use all your skills, constantly learning how to do things better. Though you’re patient in your way, you can be quite demanding when others don’t live up to your expectations. You have a certain detachment from your shows because for you they are exercises and learning opportunities. But this constant personal challenge means that you are inevitably very good at what you do. Your ASMs think you are god.
Most likely to have run sheets drafted before rehearsals even start.

Aquarius
You are an SM because you love being a central part of the creative process. You are imaginative, energetic, and friendly. However, you might not be the most practical SM – paperwork and call boards with hospital corners are not where you excel. With your inventive mind, you can come up with amazing creative solutions to most dilemmas – especially in regards to props and costumes. You are likely to have a few silly toys in your kit alongside your pencils.
Most likely to be SM + costumes + props + carpenter + house manager + program designer + ...

Pisces
Your independent, non-competitive nature makes SMing a good position for you. You’re rather optimistic and can always see the best in people and situations, though you can get emotionally attached in rehearsals. While running through the tragic scene, you’ll be the first one with tears in your eyes – but be careful that you don’t go home in a foul mood, too. You might find it hard to sit through long rehearsals or to park yourself at the SM desk through a show (wireless headsets were made for SMs like you!).
Most likely to give counseling sessions to sobbing actors backstage.

173

Students and Novice Stage Managers / Re: Chicago

« on: Feb 11, 2007, 10:23 am »

Regarding the chains, you can mist them with metallic spray paint and/or apply fine glitter just to the part you want the light to catch. It's a little silly and low-budget, but it will catch the light. It might look less than great up close, but onstage under lights it should do the trick. You can also usually pick up leftover real metal chains from a junkyard, or borrow them from various friendly companies - a hardware store or construction company might be willing to lend them out for free. Ask around.

Working with trucks is not so complicated, really. You should use the best casters you can afford, and be sure your carp uses crazy casters (that can roll in any direction) or straight casters intelligently. This will make steering much more consistent and ultimately safer. Also, be sure the truck locks into place securely - this can be trickier than it sounds. You will also want to spike the offstage locations of the truck at its various placements. Spiking onstage is generally useless, as the truck will be pushed from offstage. Be sure that props and actors on the truck are secure. Giving the actors something to hold on to (a chair back, a secure shelf) will help them feel safe and look solid as they travel. Try securing any props and dressing (pictures, desk accessories) with putty or nails - they might not always roll, but at the worst possible time they will decide to jump off the wall/desk/whatever. These kinds of finishing touches will make the truck's movement look magical, not clumsy. Also, depending on your crew capabilities, be realistic about how fast the truck can travel. If the director wants it to disappear in 2.5 seconds, and you only have one wimpy crew dragging it off with all his might, practice until it's as fast as possible and then accept that it will not get a whole lot faster. Be safe!

It sounds like you've got the newspaper solved. You can usually get blank newsprint from a local printer or newspaper warehouse. You can then carefully run it through a xerox (not all machines can handle it, but most can these days).

174

Stage Management: Plays & Musicals / Re: Dealing with stress

« on: Feb 11, 2007, 10:03 am »

I'm very sad to hear that story.
For me, the mantra about 'no one dying' doesn't relate to non-accidental deaths.
I just meant that no one will die because the actor doesn't hit his mark 3" SL. No one will die because the sofa is mauve and not eggplant.
Things like that.
You just have to keep it in perspective - and remembering that an elderly woman passed away doing no doubt something she loved, and enjoying her life until the very last backstage minute, that is also a gift. And should remind us to enjoy every minute.

175

Employment / Re: Part-Time Work

« on: Feb 10, 2007, 11:12 am »

There are usually some event companies in mid-size and larger cities. Event companies' focus can range widelly - some are full-on production companies with light/sound departments, props, even talent departments (providing models, mascots, singers - whatever live entertainment you might desire). Other companies are really just inflated caterers. As you search, you'll come across a variety of companies, some of which might include guys who own a set of speakers and 20 folding chairs and call themselves a "Total Event Supplier" and others that might have expansive warehouses of equipment, a fleet of trucks, and dozens of event managers. (Hint: try to sign on with the latter.) You should try to meet with the Production Manager at an event company just so they know who you are. You'll get gigs sporadically, but they'll keep your resume on file. Summers (wedding season) and the holiday season (Nov-Dec) are busy times, as well as March (charity ball season).

Look in your yellow pages under some of the following key words:

• "Event Management/Planners/Rentals"
• "Banquets/Galas"

You can even go through gateway sites like wedding planners (www.theknot.com is the biggest and most comprehensive of these) to find companies providing these services. Read your newspaper's social pages to see who does the local charities' black-tie galas, who plans the grand opera ball, who does the big rich weddings and bar-mitzvahs in town.

Your work with these companies might range from grunt work (carrying equipment, tables, and other heavy things), stagehand-type work (rigging, dressing, prop building, set carpentry), catering work (setting tables, maybe even serving), truck driving, or miscellaneous making-pretty tasks (painting, building, and applying lots of glitter to everything). I think the work is interesting because I might assemble a dance floor in a very un-flat backyard field and then turn around to fuss with fake plastic flowers. You always need to be inventive and flexible - there's a guerilla-style "make it work" flavor to events. You might need to change into a nicer wardrobe than you usually wear for tech work - if you're around during an event, you might be asked to wear black slacks and a button-down shirt (white or black, usually). You might also work extremely long shifts - loading in, running, and loading-out an event for a straight 20-hours - and then back to the warehouse and on to the next event. But you might also be able to snag some free fancy food and laugh at the drunk people. And you'll definitely need to be ready to handle the bridezillas and lunching ladies who will swarm around you as you try to make that boatload of tulle into their conceived "fairytale ceiling cloud". Nonetheless, it's good money and (I think) fun work.

176

Stage Management: Plays & Musicals / Re: Dealing with stress

« on: Feb 09, 2007, 02:01 pm »

An Artistic Director I've worked with a lot has a favorite saying:
"We're not the Red Cross. No one will die."

Remember that we're lucky to do what we do. In the long run, people might get their knickers in a twist, but I guarantee you it's not the end of the world. Remember that not everything is of equal importance.

And remember to breathe properly - deeply, from your abdomen, and to exhale fully. Proper breathing works wonders on physical and mental health! (Of course, drink lots of water and don't eat too much junk.)

177

Employment / Re: Looking for advice on my resume

« on: Feb 08, 2007, 09:29 am »

Welcome to the SMNetwork, Tim!

As you put together your resume, you should tailor it to the kind of jobs you're seeking. If you want a stage management gig, really emphasize your SM experience and organizational skills. It's great that you're well-rounded, but it might not be important to spend a lot of time listing your tech credits. On the other hand, if you're applying to work as a TD or with an A/V company, you should really highlight the lighting/sound/carpentry skills you have and talk less about your stage management. If you have tons of SM experience, you can even create various SM resumes: one for plays, one for opera/musicals, one for event SMing, etc. Really you should have several resumes ready to fire off at any given time, so that when a great job comes along, you have your materials ready to go. You can always talk about the true depth of your skills is cover letters and interviews.

Maybe you could create several:
- one for SM gigs, where you list all shows you've SM'd or ASM'd along with some bullet points about other theatre skills but also interpersonal/diplomacy skills and computer competence;
- one for sound gigs, with all your sound design credits (theatrical, concert/band stuff, etc), but also note your other theatre skills alongside in what sound systems/equipment you are fluent;
- one for TD or general tech theatre, where you call more attention to your sound, lighting, and carpentry experience and just mention that you also SM.

Oh, and it's good to have a "real job" resume too, that might just mention in passing your theatrical experience after listing the standard employment history and education, etc etc. You know, for when you need to pay some rent.

Your resume should never be over one page long. There are lots of posts on this forum about the finer points of resume format and what to include/omit in general. And be sure to check out the resume browser on this site, where you can see the real resumes of various SMs - some long-time professional and other students like yourself. Good luck!

178

Employment / Re: Part-Time Work

« on: Feb 07, 2007, 04:26 pm »

One of the best temp jobs I picked up was event work. Whether as an event manager or stagehand, it was quick money (usually very well paying) and somewhat theatrical. If I was hired as an event manager, I basically ran around with a headset and clipboard all night.

I had the same problem smejs has with temping (and in Ohio, too!) - that they always wanted temp-to-hire positions. I worked at Half Price Books (for those of you lucky enough to have one of these awesome stores in your city), and while it's not really company policy to be so flexible with their shifts, they were great with working with my crazy schedule. I actually held down a full-time job there while stage managing nearly every night for several years.

Meanwhile, there's always serving! I actually enjoy working as a waitress. But I do hate laying the burn on a restaurant when I know I'll be leaving in a few months. Sometimes if you're up front about this with the manager, they'll ask you not to share this info with the rest of the staff. But it's an extremely high-turnover industry, and they are usually happy to have competent help and will hire you anyway.

179

Students and Novice Stage Managers / Re: help with "real" stage management

« on: Feb 07, 2007, 09:40 am »

I totally agree with SWood's post; find a line of support.

If you're feeling unsure or just tired, having an ally (whether they're involved in the production or not) can save your sanity.

Having colleagues, friends, and family who can provide support and encouragement is essential in any line of work. For we theatre folk, sometimes we need someone who understands what we're really talking about when we scream that the line set hang was completely botched. Really they should be there for you to remind you that you're doing a great job. (A really good friend is the one who isn't afraid to tell you when you're seriously messing something up, either.) Just be sure you don't use the ally as a therapist or venting machine. You can rant about today's crisis, but then let your friend help you get over it and remember how fabulous you are. In fact, you can find many such allies here on this network! Cheers!

180

Stage Management: Other / Re: A Quick Terminology Question for You Ballet Experts

« on: Feb 06, 2007, 09:17 am »

I am not one of your ballet experts, but I would suggest the word "corps" - it clearly indicates to me the group of ensemble (ie not principal) dancers.
Chorus suggests singing (or perhaps that you're doing a play by Aeschylus), and while ensemble is appropriate to refer to the large group of community players in any genre (theatre, dance, opera, etc), I think corps might be your best word here.