Messages

181

Tools of the Trade / Re: MTI's Stage Manager Scripts

« on: Dec 14, 2008, 10:20 am »

... They're pretty helpful if you want to spend the extra $25 for a clean script. ...

$25?!? I as quoted $250 for the stage manager version for Pippin. I'm making do with a normal libretto script.

182

Stage Management: Plays & Musicals / Re: Daily rehearsal report notes

« on: Dec 05, 2008, 11:41 pm »

I was told to send RR to the director, producer and president. No one else gets them. It seems that sending RR to all designers would simply overwhelm them with extra paperwork, resulting in the reports not being read at all.

183

Stage Management: Plays & Musicals / Re: Daily rehearsal report notes

« on: Dec 05, 2008, 04:05 pm »

I sent the RR to the director, producer and president, three people total. I sent a separate email only to the prop person and the costumer.

184

Stage Management: Plays & Musicals / COMMUNICATION: Daily rehearsal report notes

« on: Dec 05, 2008, 03:34 pm »

During rehearsal a few days ago, the director mentioned that a character when drawing their sword/knife from inside their costume, we needed to be sure that it won't catch on the costume so it can be drawn smoothly. So I made a note of that on the daily rehearsal report. The next day I emailed the report to the director, producer and company president. I then sent a separate email to the costumer and prop person noting the concern so they'd be aware of it. Later the director told me I had overstepped my duties, what I should have done is simply noted the concern and then when we have costumes and props, to make sure the concern had been addressed.

Is waiting until costumes and props (and set, lights, sound, etc...) have been set the normal procedure for dealing with notes of issues and concerns that come up in rehearsal? Thanks for any feedback, Mike

185

Stage Management: Other / Re: Quesitons Needed for a stage management workshop

« on: Dec 02, 2008, 01:07 pm »

Maybe a bunch of "what-if" or "how to handle this situation" type questions.

"When should a stage manager call an actor who has missed the call time for a rehearsal? for a performance?"

"What if the light designer wants to change the lighting sequence for the Finale - and tells you of this during the intermission?"

I'm sure you could skim the smnetwork.org site and get a bunch of interesting questions.

186

Employment / Choosing a Show to SM

« on: Nov 25, 2008, 08:16 am »

My current show (a musical, community theater) runs in February 2009, we're about 3 weeks into rehearsals now. So I'm starting to look for my next show. What do you look for when trying to decide which shows you'd like to work for? I know we can't always get onto the "coolest" or "most tech heavy" show every time. I'm guessing my next show will be a straight play, with not much action happening during the show itself (not much calling). But the experience of helping the rehearsal process go smoothly is very important of course. What else should I be looking for when searching for a show to stage manage? Mike

187

Stage Management: Plays & Musicals / MUSICALS: SM Duties During Vocal portions of Rehearsals for a Musical?

« on: Nov 18, 2008, 11:30 pm »

Howdy,

I'm stage managing my first musical. The next several rehearsals are 100% vocals with the music director. I've just been showing up at rehearsal, taking attendance, calling the people who are late for the call. I made some misc. notes at the first all-music rehearsal. For tonight's rehearsal, I left after about an hour. Was that a mistake? Should I be staying throughout the entire rehearsal? I really don't have much to contribute, there isn't any blocking to record, the assignments of singing parts have been made. If I need to be present at the entire vocal rehearsal I can do that. But I'd think sitting in the back working on my computer would be more disruptive. Could I work in an adjacent room? Or do I need to be in the same room as the cast? Thanks for your thoughts, Mike

188

Homework Help / Re: Writing a Stage Management Handbook - Suggestions?

« on: Nov 15, 2008, 11:09 pm »

You must keep lists of everything. To-do items, reminders, contact directories, etc... Then when you think you've got all the lists done, you'll create one or two more. Don't get behind on maintaining your lists.

189

Stage Management: Plays & Musicals / Re: Tech Week Tips

« on: Oct 05, 2008, 06:16 pm »

We're rehearsing in various rooms of a church (classrooms, choir room, worship center, fellowship hall) depending on which room we can get for each rehearsal. The performance venue hasn't been entirely set yet, but we're hoping it will be in a local high school auditorium, where one of the Board members teaches. Specific venue negotiations are ongoing. If we get that facility, I am pretty sure I'll be able to see the venue and be able to get comfortable with it.

Yes, I had already thought to tape out dimensions of the final venue at our rehearsal space. I'll bet that gets old real quick, doesn't it? We'll have to tear down and clear all rehearsal material after each rehearsal.

190

Stage Management: Plays & Musicals / TECH: Tech Week Tips

« on: Oct 05, 2008, 09:35 am »

I'm stage managing my first musical at a local community theater. We are very early in the process, auditions are in November, performance is three weekends in February. This is the first show I've ever been involved in (7 earlier plays with various groups, either acting or crew) where rehearsals will take place in an entirely different venue than the actual production. I've been told that Tech Week will be my responsibility to manage and coordinate. I'd love to get some tips to prevent Tech Week from turning into Hell Week. What can I do between now and late-January that will help everyone in early February? Thanks very much.

191

Stage Management: Plays & Musicals / Re: Overly Involved Playwright

« on: Sep 30, 2008, 09:18 am »

I'm reading through Lawrence Stern's Stage Management  (8th edition) and just yesterday read the section on "Playwright at Work" (pages 154-155):

What happens when the playwright is present? The play still exists in only one place prior to the curtain's rise-in the director's mind. I know this sounds improbable, and I've never met a playwright who could accept it. But once the playwright commits his or her work to paper, and the producer turns it over to the director, the play is a concept in the director's mind.
...
[t]he playwright should go to the director privately to work on changes and should not communicate directly with the cast. The director should also suggest changes to the playwright privately.

It seems that the director should have final say, with a major reason being the cast should only be getting direction from the director. They shouldn't be getting guidance from the producer, playwright, stage manager, or other actors.

192

Tools of the Trade / Re: Help with my book please.

« on: Sep 29, 2008, 11:41 am »

I'd be willing to bet you'd never be able to please that director no matter what your final book looks like. Just do the best you can and don't work for him in the future.