Messages

181

Students and Novice Stage Managers / Re: Writing down Choregraphy??

« on: Feb 25, 2009, 08:51 am »

I also don't write down specific steps (and I DO have a dance background).  However, I like to note the flow of movement and any major moments/changes/entrances/exits, etc.  This way I at least have a sense of what's going.  It's also good when you're talking to people like the lighting designer to at least be able to say that the group moves into the down stage left corner of the stage.  They don't need to know if the dancers are doing a grand jete or just walking into that area.

As you can see from killerdana, dance steps do have names (grand jete).  I do the big picture diagrams and insert the name of the dance step (which I get from the choreographer: i.e. "on this music change, you'll do a Shuffle off to Buffalo") in the order that the steps will progress through the dance.  Dancers or actor/dancers learn the names of the steps even if they have little dance training and I learn as well.  I feel I'm a better stage manager if I can shout out the step name when the cast forgets at rehearsal even if I can't dance!!!

182

Stage Management: Plays & Musicals / Re: What basics should actors know about tech?

« on: Feb 24, 2009, 01:24 pm »

As you look at your tech week schedule: are there rehearsals that don't involve the whole cast? (Levels, Q-Q without actors, scene shifts that don't require them).  I would try to get as much pre-tech done without the cast so that when you do introduce them into the mix--the exposure is less painless.

183

Stage Management: Plays & Musicals / Re: Plan B for everything?

« on: Feb 18, 2009, 01:28 pm »

always smart to have a plan B for anything that breaks. We always ask for back-up CDs for music, computer programs etc, right? Anything electric can come unplugged, blow a fuse etc, computers can fry, props break, there are lamp burn-outs and so forth. You may never need them, but having thought about it ahead of time gives you options if they DO happen and it's a great brain exercise (see PSMKay's series of SM challenges, for example).

I second this--if it can break, have a back up.  You can only back up only so much, however and then, it's come up with an alternative--as you and the director/props/and orchestra member did. Were there follow spots on this show?  If a critical light burns out or something is reblocked to solve an emergency and there is no lighting there--follow spots are my back up to cover a stage area and light the actor/prop

184

Employment / Re: Unemployment Benefits Claims??

« on: Feb 06, 2009, 09:00 pm »

Not wanting to assume---did you work under a 1099 or W-4?

185

Employment / Re: Blacklist of companies for SMs?

« on: Feb 04, 2009, 08:50 am »

Screw politeness, and forget the benefit of the doubt, stage managers have a right to know.

I politely disagree.  Your best statement is to not work for that director or any company that hires him/her.  I decline politely with a line like: "I'd prefer not to work with (name of director) again." That usually tells a theatre company all they need to know.  In this way, I haven't "badmouthed" the director--no one can accuse me of any "slander".  The theatre world is small and word gets around (both ways).
We're all going to come across experiences in our careers both good and bad--I learn with each bad one to recognize "red flags" when they pop up and hopefully just select good places/people.
As for AEA--Last I knew: they have a list of producers/companies that members are not allowed to work for/with (i.e.: the company didn't pay a week of salary).  As a member, you always notify Equity that you'll be accepting a contract and the local rep will check to see that the company isn't on the "do not work for" list.

186

Employment / Re: Sending resume/cover letter to Broadway shows?

« on: Jan 27, 2009, 01:23 pm »

Are you absolutely set on an AEA/PA job in NYC?  There are plenty of large productions both AEA and non-AEA throughout the country. If you applied as an SM or ASM to their ad and were succesful in being hired, you could still learn a lot from a non-Broadway large production.

With any job, it is all about networking.

As was said in this quote by DeeCap, you may also want to ask around...see if anyone is looking for a PA, ASM or SM.  There is lots to be said for the "networking thing"

187

Stage Management: Plays & Musicals / Re: Poor stage weapon practices... Another close call

« on: Jan 23, 2009, 07:14 pm »

Guns were not locked up?!  Yikes! Isn't that commmon knowledge.
[/quote]

No, it's apparently not common knowledge although you'd think it would be common sense!!

188

Stage Management: Plays & Musicals / Re: Poor stage weapon practices... Another close call

« on: Jan 23, 2009, 09:41 am »

Recently a community theatre (which shall remain nameless in my posting) used a pistol that fired blanks.  The SM lost the gun one night (no one assigned to collect it after it's used on stage and the SM didn't have a clue that it should ultimately fall on her to secure it--now THAT scares me). I was not involved w/ that show but suggested from the sidelines that the theatre implement a procedure for weapons (like: they get locked up by the SM after each performance, taken outside and properly checked before each show and handed off to the actor just before that actor's cue to enter with it).
Now: SM's have a key to a safe where weapons are stored between performances.

189

Students and Novice Stage Managers / Re: First Show SMing at my College

« on: Jan 21, 2009, 10:07 am »

There are lots of Stage Managing books out there (amazon.com) that I found very helpful during my college days. The books can work as a "how to" guide and most go in order of how a production goes together.  I would suppliment the books with many of the threads on this site that deal with specific questions and issues.

190

Stage Management: Plays & Musicals / Re: Reading a play for the first time

« on: Jan 21, 2009, 10:02 am »

After 25 + years, I have learned to turn off some of the stage manager in me and treat a first read through of a play I'll be working on as an "overall, mostly, what is the playwright saying?" read.  Keeping note paper and pencils away from reach is also what I do to keep from going into SM mode.  After the first read---it's all business.  I do like to read the play before the first read thru with actors and that's mostly because I'm often invovled in auditions.  It's easier to confir with the director if I am familiar with the characters/play.
I also read plays that the theatres/univeristy I work with may want to consider as part of their season.  Those reads are 1/2 pleasure and 1/2 "is this really do-able at this place?"
What a great topic!

191

Stage Management: Plays & Musicals / Re: Dry Ice

« on: Jan 19, 2009, 09:00 am »

Great advice from Kiwitechgirl. To add: if you don't have an old freezer, you can store it in smaller quantities in a cooler. You will have to get "fresh" dry ice every night, though...

192

Stage Management: Plays & Musicals / Re: The unwilling crew

« on: Jan 17, 2009, 06:08 pm »

Second question...nutshell version: lead by example.  Usually if the naive crew sees you helping out at least sometimes then you get *some* credit.  However, if they are too uninformed to know that the SM's job is multifaceted maybe some openness about what you are doing....."Could you please finish sweeping the stage while I deal with the fact that the fresh veggies didn't get picked up for the performance"

I agree with the "this is what I (the stage manager) need to do so could you please finish up with that" approach of explaining my job.
Now that it's over--maybe you could get a looksee at the form (if there is one) that the apprentices fill out and see if it fully explains the job and what the expectations are.  If there isn't a section on the form of what the job entails--perhaps you could contribute some insite from the front lines.

193

The Hardline / Re: IATSE house

« on: Jan 16, 2009, 08:57 pm »

I mention the building contact since that is one of my jobs in my theatre, and it would be inappropriate for others to contact the local BA without my being involved in some way - even if its just an FYI from above.

-Centaura

My experience has been that if you are not the building/venue IA steward, the promoter must go directly to the local BA who will in turn notify the building management. 

194

The Hardline / Re: How did you get your card?

« on: Jan 16, 2009, 08:50 pm »

I was offered my AEA card as an ASM for Eureka Theatre's (San Francisco) Threepenny Opera (1982?). This was a 100% equity show. I must say that I'm gald to have had many years of non-equity SM work to prepare me for that show. From that point on, I worked as an AEA SM in the SF Bay Area.  In 1996 I was offered a chance to take the IATSE apprentice exam for the Oakland, CA local. *I have to crow here*...I was the only woman and scored the highest on the exam (out of 9 of us taking the test, there were openings for only 4).  3 years later, I earned my journeymans (journerywomans) card.  Girls Rule!!!!

195

College and Graduate Studies / Re: Race question on applications

« on: Jan 16, 2009, 08:38 pm »

It's been a while since I've applied for school but I thought race questions were "optional". I come across this question (and others) on the last page of job applications and the business would like you to fill in the answers but they're not required.