196
Stage Management: Plays & Musicals / Re: Artistic Integrity?
« on: Jan 15, 2009, 09:41 pm »
I find that reading the script (especially a "new work") is helpful in deciding if I want to work on the project or not.
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197
Students and Novice Stage Managers / Re: Stage Managing Burlesque....help?
« on: Jan 05, 2009, 03:17 pm »
I do a lot of "on-call" tech/shows for several performance venues and have gotten used to "on the fly" lighting/sound/flyrail etc.
I like to meet with the performers before house opens, let them know that they will be working around a "house lighting plot" (you get warm, cool, dark and/or bright). I get their CD and ask what track #(s) and when played. The venues also only provide limited sound equipment. Set choices are: Curtain open or curtain closed. Choices are limited but I rarely find that it limits the performer(s) or performance. I like the idea of the actors providing their own props/set pieces (I presume they provide their own costumes). Many times, I'm the only "house technician" for the show so I can only handle so much at one time. This may be an angle for you to approach your burlesque show from.
I like to meet with the performers before house opens, let them know that they will be working around a "house lighting plot" (you get warm, cool, dark and/or bright). I get their CD and ask what track #(s) and when played. The venues also only provide limited sound equipment. Set choices are: Curtain open or curtain closed. Choices are limited but I rarely find that it limits the performer(s) or performance. I like the idea of the actors providing their own props/set pieces (I presume they provide their own costumes). Many times, I'm the only "house technician" for the show so I can only handle so much at one time. This may be an angle for you to approach your burlesque show from.
198
Tools of the Trade / Re: Holiday SM Gifts
« on: Dec 30, 2008, 11:08 am »
To answer your second question:
I like to give gifts as they relate to the show. For example: I did a production of Love Letters this summer and got the cast a set of notecards (for those that aren't familiar w/ the show, the 2 characters correspond via written letters, notes and cards over the years).
As to the first question...I like gifts I've been given that also relate to the show. One is a 1/3 size coffee pot from Boesman and Lena--relates to the fact that they're a homeless couple. (Still have some of those gifts after 20 years!)
Good question!
I like to give gifts as they relate to the show. For example: I did a production of Love Letters this summer and got the cast a set of notecards (for those that aren't familiar w/ the show, the 2 characters correspond via written letters, notes and cards over the years).
As to the first question...I like gifts I've been given that also relate to the show. One is a 1/3 size coffee pot from Boesman and Lena--relates to the fact that they're a homeless couple. (Still have some of those gifts after 20 years!)
Good question!
199
Students and Novice Stage Managers / Re: Shadowing: General Q&A
« on: Dec 28, 2008, 12:16 pm »
I would absolutely visit and if possible shadow or see a show at the college(s) you're interested in. For the money you're about to spend...I see it as a "test drive". It's worth some gas $$ or a plane ride to discover if that college is a good match for you.
200
Stage Management: Plays & Musicals / Re: Long Runs
« on: Dec 19, 2008, 04:22 pm »
The longest run I've done to date was 4 months. I was lucky that it was a great show (musical) and was sold out most performances. The audiences were very responsive--also helped keep everyone's energy up. Because it was a long run, we had understudies and that helped keep the show fresh when they would perform. Downside: I had to give up meeting friends and going out Friday and Saturday nights for a while...
201
The Hardline / Re: IATSE house
« on: Dec 18, 2008, 07:17 pm »It is of my experience that you can have the actors do the scene change, but you cannot NOT have the crew. Therefore, for each actor moving scenery, you have one stagehand waiting in the wings to receive said scenic item as soon as it comes offstage.
You can "take the job" of the stagehand, but they must still be hired and present for the shows.
But please confirm with your local BA.
Being both IA and AEA I have found that the above quote is the norm. Do check with the local IA BA.
202
Employment / Re: Freelance rates for TV broadcast of performance
« on: Dec 12, 2008, 01:11 pm »
I don't typically freelance, so I have no idea what the going rates are. It is 2 rehearsal days and one performance in a non-IA house, working with a union TV crew and about 200 performers.
Thank you so much!!!!
SSM
Hmmm...union TV crew--what are their rates? Seems if they're getting union tv rate you should get something comparable.
203
Employment / Re: Questions for Interviewing SM's
« on: Dec 10, 2008, 10:58 am »I don't know what you ask or are interested in, but I'd ask character type of questions. Put in such and such situations, how would you respond/how HAVE you responded....etc.
[/quote]
I agree with the above--what is their response? Is it in line with something you would do? Is it something you've never considered before? Or--is it just a bad decision/response...how long does it take them to respond? (how quick are they thinking on their feet!).
204
Stage Management: Plays & Musicals / Re: Let's Talk "Places, Please"
« on: Nov 29, 2008, 02:22 pm »
Places means exactly that for my cast and crew. It's called about 3-5 minutes before house goes to 1/2.
I do a head count of all who begin the Act. Scene by scene, it's the actor's responsibility to keep up with where we are in the show. Yes--my ASM (if I have one) needs to report any emergencies backstage involving actors entrances (among any other emergencies). Yes--I go over the proceedure at first tech.
I do a head count of all who begin the Act. Scene by scene, it's the actor's responsibility to keep up with where we are in the show. Yes--my ASM (if I have one) needs to report any emergencies backstage involving actors entrances (among any other emergencies). Yes--I go over the proceedure at first tech.
205
Stage Management: Plays & Musicals / Re: Fill in the BLANK...
« on: Nov 22, 2008, 09:51 am »
I was hired as AEA SM on a show (not my first AEA contract, by the way) and the Producer/Director told me I had to make coffee at rehearsals. I asked him to find that ruling in the Equity contract...needless to say I was not expected to make coffee.
***I really wouldn't have minded except in the way it was presented as a demand!***
***I really wouldn't have minded except in the way it was presented as a demand!***
206
The Hardline / Re: Actor Notes - After opening
« on: Nov 11, 2008, 08:36 am »
Yes. Usually directors don't stay with a production other than an occational "drop in" at a performance (in professional theatre). In my experience in professional theatre, I do give acting notes that keep in line with the directors concept and vision of the show (that's why I write motivation and other subtext notes in my prompt book).
207
Stage Management: Plays & Musicals / Re: When the show is going bad
« on: Nov 11, 2008, 08:26 am »
Been there (as many of you have been, too). In my situation, the producers were very involved (as it was their $$$) and one producer recognized that the director was..frankly..a bad director. That director was replaced just before tech rehearsals began and although the cast was a little upset--the show was much better for it and ran 5 months!
If the producers had not been involved--I would have politely suggested (or insist--in a polite way) that they sit in on a rehearsal as was mentioned in this thread.
If the producers had not been involved--I would have politely suggested (or insist--in a polite way) that they sit in on a rehearsal as was mentioned in this thread.
208
The Hardline / Re: Another 99-seat plan question (Breaks or lack thereof)
« on: Oct 24, 2008, 01:33 pm »
You may want to meet w/ all parties at the start of rehearsal and make sure everyone is OK with running scenes/acts even if it goes past a non-lunch/dinner break. I've found that AEA is very understanding and knows it's important to run the acts in whole blocks of time. Is there an intermission in this 2.5 hour show?
209
Stage Management: Plays & Musicals / Re: Hell Week...?
« on: Oct 21, 2008, 12:50 pm »
If I'm on my game--as a good stage manager should be--then I've prepared for tech week. The more prepared, the more I'm able to get through the huge task of keeping the actors/crew/designers/ et all together and simultaniously calling a great show. Preparation, I feel, is key to a good "hell" week.
210
The Hardline / Re: IATSE
« on: Oct 12, 2008, 08:26 pm »
I am an IATSE member (currently on withdrawl--which means I'm not planining to work in my jurisdiction for a long while). I got my card by doing lots of casual calls (non-member overhire) and then was invited to interview and take an entrance exam. The rules changed the next year--open invitation--no exam. As was said in previous quotes--each local has it's own set of rules for membership.
My advice is to take all the casual on-call jobs you can--turn down or postpone other stuff to "answer the call"---get to know the guys and gals of that local and most important---be liked! Show up on time, bring the needed tools, a great attitude and don't tell the senoir members how something is done!
My advice is to take all the casual on-call jobs you can--turn down or postpone other stuff to "answer the call"---get to know the guys and gals of that local and most important---be liked! Show up on time, bring the needed tools, a great attitude and don't tell the senoir members how something is done!