Messages

181

Stage Management: Plays & Musicals / Re: Tense Director During Tech

« on: Feb 04, 2007, 10:43 am »

It sounds like you're handling this director wonderfully.
Aside from smSam's great answer, I have 2cents to add:

first cent: When I deal with Eeyore directors, I try to take an extra moment when things go right and when they are happy to point out to them that they are happy. Just one extra smile can mitigate a lot of griping over the course of a day. For example, when we're going over notes after a rehearsal, the director might pick apart dozens of things that weren't perfect, but maybe they mention that the light fade after the Act II monologue was perfectly called. I would just take a second to let everyone enjoy this success by saying "It perfectly timed and really gave me goosebumps" or "Yes - the moment was just right today." And try to get the director to smile, too. Or at least stop whining for a second. Something to point out the good moments too - to remind the director that they do happen.

second cent: A director who is perfectionistic and demanding can wear on the cast and especially crew quickly. And sometimes people can begin feeling unappreciated, frustrated, and ultimately hostile. Only a couple of unfortunate times, a director has been so bad that a crew sort of stops making effort to make the show the best it can be. Instead, people just do what they need to do. It's a defeatist attitude where it feels like no matter how much effort you pour into the show, the director will still complain, so why bother? As SM, when I feel this vibe developing, I start paying extra attention to everyone's efforts and thanking them often for their great work. I become the cheerleader and try to keep people's hearts invested in the show. I acknowledge that the director is difficult and demanding, but always support the director and remind everyone that we are all trying to get the show to be the very best.

182

College and Graduate Studies / Re: College Stage Management Guide

« on: Feb 01, 2007, 11:08 pm »

As a freshman, I was handed an exiting senior's thesis that is exactly like what it sounds you are describing here. It was useful, though as you say, only for people who wanted to stage manage at this particular college with these particular theatres, etc. But that can also be a good thing.

Instead of feeling limited by the locational scope, enjoy the opportunity to talk about all the nooks and crannies of your theatres. Talk about the prop room door that tends to lock people inside the storage closet. Mention that the athletic department has a stock of fencing gear - for when you're doing Hamlet. It might be good to know that by the ASM station backstage L, the deck doesn't quite meet the wall and you lose props (we lost a wedding ring that way right before the proposal scene). It can be quite thrilling for a newbie SM to read your book and walk through the same theatre halls encountering the same details you write about. But of course, a renovation will make notes like this irrelevant. Don't let that deter you. You have tips to share and secrets to tell.

The guide I read, aside for all the stock SM info like BalletPSM mentions, also had a "theatre lore" and ghost stories appendix. Just something silly. Have fun with it!

183

Stage Management: Plays & Musicals / Re: marijuana and theatre

« on: Feb 01, 2007, 09:23 am »

Balletdork's latest post made me think.

I have always had a strict personal policy of leaving any job (theatrical or otherwwise) that required random drug testing. This is a personal political choice, because I think that it's an invasion of my rights. I've only had to put this policy to the test a few times. A couple of times, I've left interviews when they brought up this policy as non-negotiable. Once, I walked off a job I already had. Once, they decided not to test me since I would not consent. The point is not whether they would find something incriminating in the test or not. The point is that I think it is flat-out wrong. But I know that these tests are entirely common. I've been a bit lucky - maybe one day this policy will cost me a dream job or some much-needed income. I just feel very strongly about this.

When companies decide to randomly test employees, they must be ready for the results. Whether you lose your leading actor three days before opening night or you lose your head accountant in the middle of an audit (who ever would have thought the mousy beancounter was a pothead!) - you will find what you look for, because it's there.

All that said, I certainly maintain that alcohol and drugs - possession or intoxication - are entirely unacceptable in the workplace.
This is an interesting conversation!

184

Employment / Re: How do you get into touring shows?

« on: Feb 01, 2007, 09:08 am »

There are a few posts in the Employment forum about getting gigs with touring productions.
Check out the post "Touring" and the longer discussion "So... I want to go on tour"

You'll find some great ideas and advice. If you still have questions, please join the discussion and I'm sure some of our touring SMs will have plenty of words of wisdom to offer.
Cheers!
-ljh

185

Students and Novice Stage Managers / Re: Light Walkers

« on: Jan 31, 2007, 11:01 am »

I have met plenty of people who actually love to be light walkers. I keep their phone numbers on speed dial!
But I have also met plenty of people who hate it and complain, even though they keep volunteering. Weird.

Sometimes I call on a friendly donor who is able-bodied and enthusiastic about our work to come be a light walker. I usually have someone else - an intern or available staff member - hang around if I can't so the donor can get a little hospitality. This is actually a great way to give friends of the company a backstage thrill. And it often results in a nice "thank you" check - or raises their giving level after this experience. It can also be a good story for marketing purposes - small newspapers love to pick up human interest stories like this. You really have to pick the right person. But if you do, it can be a major success for the theatre's business in many ways.

186

Students and Novice Stage Managers / Re: Light Walkers

« on: Jan 29, 2007, 06:57 pm »

Hey!
We opera folk are no weirder than the rest of the theatre crazies.

From my work in opera (and lots of it), I've never asked anyone to wear all black. Lighting is lighting, whether it's for an opera or a Pink Floyd concert. I guess someone who didn't know lighting might think that all black would present a simple palette to work with. But as most of the responders have said, you should try to stick with the colors of the costumes, whenever possible.

187

Stage Management: Plays & Musicals / Re: No Smoking in Denver

« on: Jan 29, 2007, 08:54 am »

A new article on the subject from the NYTimes (1.28.7):

No Smoking in the Theater, Especially Onstage
http://www.nytimes.com/2007/01/28/theater/28pinc.html?ex=1170738000&en=e9298dbd272aece5&ei=5070&emc=eta1

Not a whole lot of new info or insight, but interesting nonetheless.

188

Tools of the Trade / Re: Environmental Theater

« on: Jan 29, 2007, 08:51 am »

Actually, scent machines were really popular for about five seconds on the club scene a few years ago. (Don't ask me how I know...)

Just like fog machines (and often used alongside them), some of the same companies presented machines to fill rooms with carefully controlled scent fx. Try
http://www.rpientertainment.com/scentfx.htm
http://www.envirodine.com/enviroscent.htm

Most companies with scent machines in the USA are in LA or on the west coast. They're a little harder ot find right now because it's no longer trendy. But they're also cheaper (perhaps not cheap enough for small theatres...). Just google scent machine and you'll come across some solutions. These probably open up all sorts of problems for your purposes - chemicals, allergies, etc. Blowing essential oils through the vents is probably your best bet here. But isn't it kind of hilarious that scent machines even exist?

189

Employment / Re: resume format

« on: Jan 29, 2007, 08:41 am »

I would not go for the headshot on the SM resume.
I understand the idea of helping people remember you. But, well, it just doesn't matter what an SM looks like as it does an actor. It would be like putting my picture in with my job application to be a bank teller. Totally irrelevant (and therefore unprofessional? probably not, but somehow it does have that flavor to me). Don't bother. Make your lasting impression with your wonderful resume and smart interview skills.

190

Students and Novice Stage Managers / Re: Light Walkers

« on: Jan 28, 2007, 10:28 am »

There's a post called "LX Plotting Structure" in the Plays & Musicals forum that talks a bit about using light walkers.
I'll repost my light walker words from that discussion here:

In many situations where the actors are union (ie, would need to be paid for the hours they spend at the theatre during lighting work), theatres bring in volunteer "light walkers" who just move around the stage in the places the actors would be while the LD, SM, and director do their lighting plot. It is very tedious for the light walkers because they are totally passive and don't know where they're going or what they're doing - they just walk left when you tell them to walk left. But if you can find nice, patient people who are excited about being onstage under lights (however un-glamorous the situation), it can be a pretty painless way to get lighting work done. In this situation, you can get your basic lighting done without tiring the actors, and the LD can refine lighting for specific moments with the real actors during tech rehearsals.

Do be sure to warn the light walkers that they should not wear black or white, and make sure they know that they could be standing on their feet for hours at a time. In these tech sessions, by the way, the PSM is usually at the ready to talk through the blocking with the light walker, but you sit next to the director (who decides what scenes to move to) and the LD (who talks through calling the cues with you) so that you don't need to actually be on the stage. We usually give the light walkers a couple of comp tickets and a big thank you.

191

Stage Management: Plays & Musicals / Re: First and Last Names

« on: Jan 23, 2007, 08:44 am »

I usually do Mr./Ms. Lastname, but sometimes I do first initial/last name (J. Smith) in reports. For dressing room signs, I use full names.
I work mostly in oprea, with friendly but formal companies.

192

Stage Management: Plays & Musicals / Re: marijuana and theatre

« on: Jan 22, 2007, 09:17 am »

If it wasn't weed that they were burning, it was probably sage (often used in various religious rituals).
But that still doesn't make it ok.

I would definitely ask the producer or venue manager for a copy of venue guidelines. It's extremely likely that there's a policy in writing somewhere about no smoking or unauthorized fires anywhere in the building. It's just not allowed, but you should try to get a member of upper management to support you. This can become a touchy issue when people play the "religious freedom" card. Yes, some religions call for the use of psychoactive plants in rituals. But it's still illegal to smoke marijuana backstage, even if you're a Rastafarian. Sorry. 

As far as getting rid of the smell, do NOT burn incense. This is just as bad and you're really only covering the other smell - not solving the problem! Singers, actors, and other people whose livelihoods rely on their voices would object to pot, sage, or incense for the same reason - their fumes contaminate the air and irritate the vocal cords. Open all the windows, and then use a chemical odor remover like Odo-Ban or Febreeze. Keep the windows open for as long as possible - it might take a full day to let the room air out entirely. Some general cleaning will help remove the stank from furniture (vacuum upholstered couches and chairs, shake out rugs, wipe down tables and even the walls). You can even use dryer sheets to rub over the furniture - or make a dryer sheet "sail" in front of a hairdryer to neutralize the odors and fill the room with a fresh laundry smell.

193

Stage Management: Plays & Musicals / Re: Response to "calling a show by feel" from "things you would never hear..."

« on: Jan 21, 2007, 11:44 am »

Owen -
The mischief maker in me responds...
Oh, of course I would be more than willing to call the cue whenever and wherever the actor wants. After all, she's the actor.

But the ring would suddenly sound different every night.

194

Employment / Re: Cruise jobs

« on: Jan 20, 2007, 10:51 am »

If you're also a carpenter, you might consider joining a cruise gig by working with a company that builds sets for ships. You might build a set and then join it on a voyage. Because the set building companies work so closely and frequently with the cruise companies, they ships sometimes contact the shops when they're seeking show crew. But this mostly relates to carpenters and techs. A company called River City Scenic in Cincinnati, Ohio is a major company like this. www.rivercityscenic.com

195

The Hardline / Re: Roth IRAs?

« on: Jan 20, 2007, 10:05 am »

Most major investment firms are nationwide, have online account management, and offer IRAs. To find a few, and to learn more about IRAs and other investments in general, check out The Motley Fool at www.fool.com.

My IRA is through McDonald Investments, which was recently acquired by Key Investments. It has performed excellently for the handful of years I've had it. (I'm not AEA though; I just set up this account on my own.)