Messages

196

Stage Management: Plays & Musicals / Re: Outdoor Venues

« on: Oct 08, 2006, 09:25 am »

There is a big thread about working in outdoor venues that you can find here:

http://smnetwork.org/forum/index.php?topic=1022.0

197

Stage Management: Plays & Musicals / Re: Splitting the jobs between co stage managers

« on: Sep 30, 2006, 11:37 am »

The tech direct believes that she runs the scene changes rather than the stage manager, is that so?

It all depends on the nature of the show here.  Is the technical director planning to be at every rehearsal and performance to continue running the changes?  If not, then an SM needs to handle it.

My technical director runs our scene changes in that he figures out who does what and how the moves work exactly -- so I jut tell him what has to  happen, and I call when it has to happen, but I don't necessarily know who is doing the move or how the push or pull is working exactly -- that's the TD's job (in my situation, anyway). 

I like to booth SM/Deck SM model and assigning an ASM to each.  Sounds like this could be a relatively painless experience for you if you clearly define tasks and everybody's on the same page.

198

SMNetwork Archives / Re: Drinking Games

« on: Sep 20, 2006, 03:54 pm »

Yeah, the pen that is permanently attached to my hand during tech?  It's actually a small vial of absinthe....

  That list is great! 

199

SMNetwork Archives / Re: Essential Theatre Books

« on: Sep 12, 2006, 04:12 pm »

I second "The Year of the King"

I also am a big fan of Ann Bogart's "A Director Prepares." 

200

Tools of the Trade / Re: What is Gaffer Tape?

« on: Sep 12, 2006, 02:59 pm »

We use gaff rather than marley tape, for the main reason that marley tape is slippery for the dancers.  And its a pain in the butt to actually make work.  You pretty much have to have one of those super cool tape rollers (which someday my TD will build for me...)

Never, ever, ever use Permacel on marley.  We tried it once last year because our dealer was running a special on it and we figured it would be good tape -- NOT SO.  It left sticky residue EVERYWHERE it was taped down...which on  60 x 40 marley floor, 5' panels...well...you do the math.  I think we actually went beyond the minimum for the out on that show because the stagehands had to sit there with pieces of the tape and dab the sticky crap off the marley.  YUCK.

Pro-gaff works great for marley, in my experience.  Shur tape tends to be stickier so I will usually purchase a case of each. 

My dealer will also switch white with black in cases for me, so I can order a case of gaff and have him change out 4 black rolls for 4 white, since we typically don't use as much white as black. 

I keep all our gaff and spike under lock and key at my desk...otherwise dancers will try to use it to tape their toes, tape their shoes, tape anything they feel like.  =) 

201

Stage Management: Plays & Musicals / Re: What do you want to tell Actors???

« on: Sep 11, 2006, 10:56 pm »

n addition to letting me know about the broken prop...let me know that the prop is broken BEFORE places the next performance.

AMEN!

202

Stage Management: Other / Re: Sming for Dance

« on: Sep 09, 2006, 11:26 am »

let the students call the show off the TV.

How do you do this?  Give them a copy of the score pages with cues written in?  I'm curious, as I have to do a workshop in december and am looking for some new ideas too.

203

Stage Management: Other / Re: Sming for Dance

« on: Sep 01, 2006, 01:20 pm »

So...I'm assuming that each class is a different set of people, or do you have some of the same students?

You could also talk about the importance of being familiar with ballet terminology and the importance of being able to read music (at least I think that's important...maybe you have different thoughts).  Are you only addressing stage management, or are you addresing company and production management as well? 

Whenever I do workshops, I usually bring in one of my scores and one of my production books and then take the group through my process as a stage manager from hire to closing night.  Since at the ballet I fill two roles, I tend to also talk about my role as the prod. manager and how this works in tandem with stage managing all the ballets.

Hopefully this gives you more ideas. 

204

Stage Management: Other / Re: Sming for Dance

« on: Aug 30, 2006, 01:57 am »

The differences between actors and dancers.

What the backstage atmosphere is like during rehearsals/performances.

The extreme importance of safety and taking all necessary precautions.

Choreographer v. director -- what's the difference? What can you expect to encounter?

Those are just some random 2 am thoughts...How much time do you have for each class session?

205

SMNetwork Archives / Re: More Technology in Stage Management! Website for my shows!?!?!?

« on: Aug 25, 2006, 11:43 am »

I would be REALLY careful posting schedules and locations of things online for all the world to see....you never who has restraining orders or scary stalkers.  It could be seen as an invasion of privacy.  It looks like you have this for cast, but there is a note on the production team section that says, "schedule coming soon."  Are you going to have a login required for everyone?

Also, have you received permission to use all the photos?  You must do this, and should also credit the photographer if possible.  I noticed the "communicating doors" picture does, but the ones in the top line don't have credits anywhere.

206

Students and Novice Stage Managers / Re: Stage Managing the World

« on: Aug 23, 2006, 09:34 am »

This is starting to get into the realm of general odd stage manager behavior outside of the theatre....some time ago there was a topic on this as well. 

http://smnetwork.org/forum/index.php?topic=819.0

That said...

a few days ago I went to visit my friend who works in a local department store.  He told me his department was the back right corner of the store...well I naturally walked in to the store and turned to my left, thinking he meant (because what else would he mean?) the stage right corner of the store.   I was wondering how on earth he could work in electronics in the middle of the milk aisle...until I realized where the confusion was. =)

207

The Hardline / Re: Copyright laws

« on: Aug 23, 2006, 08:25 am »

Agree with Art -- you can't just tape for archival purposes without actually obtaining permission from all involved parties -- primarily, the publisher of the work.

E.G., when we do a ballet to music by a living composer, we have to obtain permission from them as well -- and most of the time they will request a copy for their archives as well.  Likewise with pieces by a guest choreographer; we have to get their permission, they want a video...etc. etc....sometimes I'll have to make 4 or 5 copies of our "archival" video after a performance because of all the parties that have to get one.

And in all of this, I have to submit a request to the symphony in writing asking THEIR permission to tape our ballets and have to detail all of these reasons why.  Of course, anything with the symphony can ONLY be used for archival purposes, never for publicity (not even 30s spots).  And there's the IA rules...if we tape anything that will get aired or sold in any way, the entire crew that was on the call at that time(s) gets double time for pay for all hours anything was being taped...yikes.

Crazy...but as long as you follow the rules and cover your bases with everything, you should be fine.  If you are suspicious or just don't feel quite right about anything a theatre or producer asks you to do or distribute, make sure to check it out more thoroughly.

208

The Green Room / Re: Tech dinners

« on: Aug 20, 2006, 12:44 pm »

I have learned that there is no better way to reach the heart of a crew (especially IA) than through their stomachs

And they in turn will reciprocate -- when I called Nutcracker last December I always said over com that I was hungry after I called Light Q 116 -- same time every night, and I didn't really realize I was doing it until one night I didn't say it, and everyone on com said, "hey, are you hungry tonight?"

At our last performance one of my spot ops gave me a tin of nice cookies and said, "this is for Light Q 116."

209

Students and Novice Stage Managers / Re: Giving line notes - a real novice question

« on: Aug 05, 2006, 01:23 pm »

The advantage to the post-its (this is what I imagine - I haven't used them *yet*) is that performers can place them exactly where they apply in the script.

Correct..and also they stick to each other and the table so as I make piles during rehearsal they don't fly all over when I turn a page or if I have to jump up suddenly to move a difficult prop or if I'm sitting in a particularly drafty area.

this method can get expensive if your theatre doesn't give you a budget or you don't work in an office where they don't mind of you filch a few pads.  =)

210

Stage Management: Other / Re: Stage Managing Dance?

« on: Aug 05, 2006, 01:15 pm »

And when others i still know in college there get ready to stage manage one of the dance shows I'm always like "take mostly everything you know about stage managing a play, and push it aside.  Don't think you know what to do cause you did a couple plays.

Hmmmm...I have to disagree with this.  My training in straight theatre prepared me immensely for the job I have now -- granted, I had done ASM work with the ballet company so I knew the workings of a dance company and how to work with IA crew, what dancers are like, etc., but my work in theatre allowed me to bring some different to the job that my directors really appreciate.  For example, I make it a point to attend every rehearsal (or at least as much as I can - the nature of my job makes it so that sometimes I have to do school shows while the choreographer is rehearsing the professionals).  I do the same sort of thing I do for a play or musical during rehearsal and then some.  I run music for the choreographer and note the points at which he stops and follow along with the score to help him count things out.  I don't notate all the choreography, but I do write down specific things so when the choreographer is grappling for a good place to take it from I can jump in with "how about from the jetes?" Last season when he and I had gone out after a rehearsal he told me how extremely helpful it was that I sit in rehearsal and that he's never had a stage manager do that before -- it's just not the norm in the dance world.  Sometimes there's a ballet master or mistress who will do this, but they are more there to learn the choreography so they can rehearse the corps later.  If I hadn't done all sorts of work in different kinds of straight theatre, I would not have had this kind of background and knowledge and wouldn't have dreamed of going to rehearsals I wasn't expected in, hence probably wouldn't be in the position I'm in now.

Likewise, my work with the ballet company has only made me a better stage manager for theatre.  When actors/directors say something like, "wow, that's a really cool idea" to something that I have picked up in the dance world, I know where I can chalk it up to.

Yes, a ballet or dance concert is different in many ways from a play or a musical -- but in the skills you learn doing each will only help you in the other.