Messages

181

Stage Management: Plays & Musicals / Re: Calling Spot Light Cues

« on: Nov 11, 2006, 06:10 pm »

Generally, in my pre show crew roll call, I'll do a quick run down of how I'm going to work with the spots.  Something like:

"Spots, your Act I frames are 1 & 4 (I only say this if they stay the same through the whole Act); take all entrance and XT pick ups and fade outs on your own; anything that comes up while the dancer is on stage, I will call for you - unless I tell you otherwise."

(they can see better than I can when the dancer is actually on stage and coming off stage)

Then in the show I give a long standby to give time to set the spots up, something like:

SB Spot 1 to p/u the Swan Queen entering L4, Spot 2 to pick up the Prince from R3, both frames 2 and 5, on a 5 ct.

(I don't have to say "on your own" because I already established that convention top of show). 

Or,

"SB spot 1 to fade out on the prince and pick up the Queen, she'll be upstge left on the throne."

....

"Spot 1 to Queen GO"

(because the Queen is already on stage) 

Sometimes you have to give a bit more explanation; like I would add "the swan queen will be one in the short white tutu with the crown, the prince will have white tights and a black jacket on."

My LD will sometimes do a Q sheet for them, but not always.  He mostly gives everything to me and I just call it -- that way they don't need a Q sheet, I know where all the entrances and XTs are since I've been in rehearsal (unless of course we get to the theatre and they decide to change what wing they enter in!).

I think its important to work it out with your LD how much info you are giving the spots and how much info he/she will give them.  And then its also important to make sure the spots understand who you are talking about -- remember that to them a character or actor/dancer name doesn't necessarily mean anything.  On their first rehearsal you will probably have to be very descriptive and pick out some distintive points about who they're going ot be on, so they know who they have to pick up -- then once they know it, you can probably take the description down.  E.G. at the first rehearsal with spots, you may want to be as descriptive as, "....p/u the King; he'll have a green jacket on and a big gold crown and will be standing DR"

Of course, if all the men on stage have green jackets and gold crowns, this won't be much help!

I recently had a situation where two dancers were dressed exactly the same and were standing next to each other when the spots had to pick them up -- at first I tried to explain it to the spots by saying where they were on stage, but that was still too confusing so I finally ended up doing it this way --

"Spot 1, your girl is entering on the ramp right now - keep an eye on her...Spot 2 -- your girl is entering on the ramp now -- keep an eye on her.  These will be your next pick ups after you fade out on who you're on now."

I was able to do this b/c they were pretty skilled spot ops so they could multi task like that...but yikes!  It took a couple rehearsals to finally get it right (I think maybe on opening night was the first time no dancer was left in the dark!

I think its mostly a matter of figuring out what makes the most sense to the spot ops -- they're the only ones that need to understand what you're talking about.  Sometimes it helps to talk to them directly and figure out the best way to call something so they know what you're talking about.

182

SMNetwork Archives / Re: Nutcracker

« on: Nov 11, 2006, 05:42 pm »

Here's where I reveal my true ballet nerdiness -- I think one of the most magical moments in all of storytelling is the part in the ballet where Drosselmeier brings the Nutcracker to life for Clara....with the music build up and the smoke and all Clara's innocent anticipation and excitement...oh it makes me teary every time!  =)

(yes...I am such a ballet nerd!)

183

SMNetwork Archives / Re: Nutcracker

« on: Nov 10, 2006, 02:58 pm »

I also find myself calling the show while shopping etc... (or worse yet, going shopping with the company and actually performing the choreograph

OMG!  I do the same thing while shopping during Nutcracker season! (yes....it's not the holiday season for us ballet folk, it's nutcracker season).  Like, I'll see a price or other number somewhere and be like, "oh, 118, that's my first waltz of the flowers Q"  or anytime I am in a store and some nutcrackcer piece comes on my brain instantly switches to SM mode and I start calling the show along with the music....

Happy 20th Anniversary!  Let's see....this will be my....18th year doing a nutcracker of some shape or form (minus one year my freshman year of college), be it when I was little and was dancing in it, or when I was in high school and we did "Nutcracker on Ice" several years in a row, and then when I got to college and started working with the ballet company, and now at the helm with GRBC.

I still remember my first year working for GRBC a little girl came into rehearsal and had broken her leg the day before and was bawling because she had to tell the director that she couldn't dance, and the director said to her, "There will always be another Nutcracker!  Death, Taxes, and The Nutcracker -- you can always count on those."

For some reason, that statement has stuck with me...

I've got someone working on trying to locate the Simpsons Nutcracker episode.  I'll PM you if he finds it.  you've got to see it.  =)

184

Students and Novice Stage Managers / Re: Prompt Book Help

« on: Nov 10, 2006, 09:20 am »

Each night I had to redo the blocking notes for whatever scene we had finished working and then immediately notifiy the LD about the changes.  How do you deal with something like that?

Tell the director that tech is tech and blocking is done -- unless there are SERIOUS problems you discover in the transfer from rehearsal hall to stage, the blocking should be finished.  Except as you say for minor changes, like needing to adjust a step because there are no fixtures that will throw a special to a location on stage or something.  Good luck. 

185

Students and Novice Stage Managers / Re: Rehearsal Suggestions

« on: Nov 10, 2006, 09:13 am »

Recently a new SM asked me to provide him with some good rules for rehearsal-what he should/shouldn't say, etc.  After giving that to him, I thought some folks might find it useful.  (Just so you know, I'm a professional SM currently pursuing my MFA so I've been doing this for awhile.   )

1.  Most directors want stage managers to be seen and not heard.  Unless you're asked, you should never offer your advice or an opinion.  You never want to tell a director how to do their job-you can offer the problem, but don't offer the solution unless you're asked.

I disagree with this point. Whilst I NEVER offer creative suggestions unless asked, if I see a problem, ie something just will not work (ie an action requires defying the laws of gravity etc) I will point it out, as well as possible solutions - taking care to never seem like I am influencing the way the show actually looks. I am also strongly of the opinion that we are more than just the directors Personal Assitant, and that whilst the creative control is in the directors hands, I will take charge on the organisational front - which means that I will call out for order, I will make announcements at the start and end of rehearsal etc and inject comments on things the director may not know which could prove valuable to everyone.

I agree with Mac on this one and disagree with the original statement.  When I am in rehearsals and the director starts to do something that would be physically impossible on whatever the set piece is, you can bet I'm going to speak up and tell him/her before that piece of blocking gets too far.  For example....I once had a director who wanted an actor to sit on the edge of a tall platform with his feet hanging off; he didn't realize that the platform actually had a 3' wall that went up and so no one could sit on the edge.  If I hadn't said anything right away and had waited until after the rehearsal, the next rehearsal we would have had to taken time to re-do this scene.  Because I spoke up and let him know that it wasn't going to work, he readjusted the blocking right there and everything went on fine.

There is a difference betwween offering up artistic suggestions, and making sure that everyone stays on task and that the director doesn't try to do something that just won't work.  If the seen and not heard rule had to apply all the time, I think a lot of rehearsal time would get wasted and the process wouldn't be as smooth as it could be.

186

Tools of the Trade / Re: Binder Spines - I need your feedback!

« on: Nov 07, 2006, 11:00 pm »

Because of this very frustration I stopped using those kinds of binders.  Now I purchase binders without a clear plastic outside and instead make my own labels and stick them on. 

187

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

« on: Nov 07, 2006, 10:59 pm »

Ah, the simple joys of the office supply store.  Whenever I feel stressed I go into an office supply store and am immediately relaxed..there is something wonderful in knowing that there exists an entire store of stuff to organize and make easier the stressful life of a stage manager.  =)
 

188

Stage Management: Other / Re: Looking for Suggestions on Stage Managing Dance

« on: Nov 07, 2006, 10:24 pm »

With dancers and choreographers, you have to play everything by ear a little bit more than you do in straight theatre.  I typically attend every rehearsal when our choreographer is working on a new ballet -- it is helpful to have me there to stop/start the music, keep track of significant points so it is easier for him to pick something up in the middle of the piece (rather than him having to search for it, end up starting at the wrong place, getting all messed up, etc.)  I also have the score in front of me in the rare case he has a question about how something is counted, and then I am there to field general questions he has as he is working, such as "how big is this platform exactly?" or "can I do this with that prop?" 

If they are setting a piece already in the company's repetoir, I don't need to be at their rehearsals (case in point:  NUTCRACKER.  I know it well enough that I could probably dance it if I had to). 

When it comes to tech rehearsals and performances at the theatre, dancers absolutely must sign in.  If they don't, I don't run all over the theatre searching for them -- I announce their names over the page mic when I call half hour and make them come to me backstage right. (except with the principals...with them things are always a little bit different...) 

189

SMNetwork Archives / Re: Nutcracker

« on: Nov 07, 2006, 06:03 pm »

Balletdork -- we had our first (well...not the first, the mice/angels/party boys/party girls/soldiers/bon bons/clowns have all been rehearsing on their own since September 28!) group rehearsal this past saturday.  It still felt WAY TOO FREAKING early to be starting Nutcracker.  Staging the party scene...always a bucket of fun.  =)

Did you see the Simpson's christmas episode last year?  They did a little Nutcracker spoof, with the Simpsons singing and dancing to select pieces from the Nutcracker.  Hilights included Moe trying to commit suicide (unsucessfuly) to the Reed Flutes, then Homer forgetting to get Marge a Christmas present -- he runs out of the house singing (to the Russian dance), "I need a present for my wife, or I'll get no sex for life!" (go ahead...try singing it...).  Finally he comes back and he and Marge work it out as the Grand Pas plays....it's beautiful.   Now whenever I hear Reed Flutes I think of Moe trying to kill himself.  So fitting for that piece...

Just think of this -- for the audience, it's either "the same magic year after year" (this was an actual quote from our AD that appeared in the paper last season -- we gave him a lot of grief about it!) and for those who are experiencing their first Nutcracker, what a joy it will be for them!  For some people, "The Nutcracker" is their most important important holiday tradition.

For those of us in the business....well....at least for me, there's something really comforting in calling a show you've been doing for the past 5 years, knowing you could call it in your sleep and the crew could do it in their sleep..thus freeing up more time for chit chat, fun, and games, over cans.

Let's commiserate over the next two months!  

190

SMNetwork Archives / Re: November Holidays

« on: Nov 06, 2006, 09:22 pm »

And while it's not a holiday, please remember tomorrow is Election Day so GO VOTE! (at least if you are in the U.S.)

191

Stage Management: Plays & Musicals / Re: Dialect Rehearsals

« on: Oct 24, 2006, 01:15 am »

You don't need to be there for dialect appointments, especially if the director and coach have told you this. 

Unless they've specifically told you NOT to come, you could go if you wanted to; sometimes its good to see the kind of work the director does with this so if they're talking about doing a specific exercise with the actors or talking about something else related to the dialect you're not completely clueless. 

But you definitely shouldn't feel guilty about missing a dialect rehearsal, especially when they are individual appointments.

192

Stage Management: Plays & Musicals / Re: Stage Management vs. Production Management

« on: Oct 18, 2006, 05:21 pm »

Some other threads with discussions on this topic:

http://smnetwork.org/forum/index.php?topic=790.0

Quite a lengthy discussion here:

http://smnetwork.org/forum/index.php?topic=931.0

193

Stage Management: Plays & Musicals / Re: Stage Management vs. Production Management

« on: Oct 18, 2006, 05:18 pm »

America has production stage managers as well...there are a few of us on this boards that are living breathing (albeit barely, sometimes) proof.  =)

Even though the title is one job, I tend to think of it as two separate jobs (mostly to keep myself sane):

As production manager, I do all the scheduling for the company for the season, contracting, hiring of design staff (with AD's approval), hire running crew and ASMs (when necessary), create and keep track of all production budgets, coordinate load ins and outs, work with IATSE and the symphony, deal with the venue issues when we tour, etc., handle per diems and reimbursements, handle production payroll, etc.

As the stage manager, I am in all rehearsals (except initial staging rehearsals of rep pieces and rehearsals where they are going to be working a specific piece over and over), take rehearsal notes, communicate with designers and prod. staff any changes, updates, etc., do all the show's paperwork, run and call tech and dress rehearsals, call all performances.

Mostly it's nice that I do both because this way there is one go-to person for all the designers and production staff.  But, we are able to do that with the size of our company.  If we were any bigger or wer running multiple shows at the same time it would definitely need to be two separate people. 

Since we don't have a company manager, I also tend to do a lot of those duties as well -- making travel arrangements if necessary, serving as a liaison between the dancers and directors, travel arrangements, information packets, and picking up and chauffeuring guests artists and teachers around, etc.

Since we also don't have a facilities manager, a lot of those duties get wrapped up into the PM portion of my job as well -- dealing with broken HVAC systems, taking care of the studios and the studio equipment, etc.  (yikes!)

I think a good way to think of it is that the PM oversees all aspects of production, the SM oversees the production itself. 

194

Stage Management: Other / Re: Sming for Dance

« on: Oct 08, 2006, 02:51 pm »

I've heard another idea that "merde" comes from the old days when people took horse-drawn carriages to see ballets; a lot of "merde" in the streets would mean a lot of horses, which would mean a lot of people coming to the performance.

195

Stage Management: Plays & Musicals / Re: Actor Calls

« on: Oct 08, 2006, 09:38 am »

I do calls in real time, but I qualify them by saying "until the top of Act I" or "until the top of Act II."  So it's like this, for a 7:30 GO.

7:00 -- Ladies and Gentlement of the _______________ Company, Half hour until the top of Act I, Half Hour until the top of Act I.  All valuables may be brought to the stage manager backstage right for lock up at this time.

7:15 -- "15 minutes until the top of Act I"

7:20 -- "10 minutes until the top of Act I"

7:25 -- "5 minutes until the top of Act I"
(then I ask for an estimate on if we can start on time or if we have to hold)

7:28 (provided we don't have to hold) -- "Places please for the top of Act I, places please for the top of Act I"

Or, if we have to hold, I hold off on a places call and give a "We are on a 5 minute hold" or whatever. 

I kind of agree with Mac -- as the SM, you kind of qualify the time in terms of how you want to call it (as long as you're on the same exact time as the house manager).  I've known SMs who say things like, "22 minutes until 7 minutes before curtain" and then you have to sit there and try and do math to figure out what your call is.  After a show's been running a long time I guess this could get fun, but as someone severely math challenged it's just difficult for me.  =)