Messages

1951

Stage Management: Plays & Musicals / Re: How do you call your sound cues....

« on: Feb 09, 2007, 01:56 pm »

In my experience over the past 20 years, the part of the cue the operator is actually listening to is "LX", "Sound", "Automation", "Tab", etc, and the cue number is the least of the worry.

What you should be carefull is that your cue titles don't watch up like "Lights" and "Leaves" - that, in my experience, can be a problem.

But, in the end, I think it's a matter of style.  I just haven't dealt with a designer or show that has lettered anythings in about six years.  So, I would avoid it - I also don't like things like Cue Q . . . and it would bother me to skip over the cue letter.  Thus, I just stick to numbers for LX, Sound, Projections - and call automation by the piece moving.  But that's my style.

1952

Stage Management: Plays & Musicals / Re: How do you call your sound cues....

« on: Feb 08, 2007, 05:11 pm »

Now with computers running sound, I pretty much just call a number, and it's up to the designer to tell me what the numbers.  (They sometimes work with point cues meaning special things).  But for me, it's just

Sound 47 . . . Go!

Sound 48 maybe an adjust, a fade, a cross fade, or an entirely new cue.

1953

The Hardline / Re: Scheduling Actor Haircuts

« on: Feb 08, 2007, 11:53 am »

Yes, I have always considered these "costume" fittings, and scheduled as per that.

1954

The Hardline / Re: Another Fitting Question

« on: Feb 04, 2007, 10:44 am »

Sounds right to me, Matthew, with one question - if the actors have voted on a one-hour meal break, wouldn't that mean you'd have to use one hour, not two, in your calculations?

No.  Remember, when the cast votes for a one-hour meal break, they are voting for the option of an one-hour meal break, you do not have to limit it to one hour.  (There are often times when I need 90 minutes to do costume fittings.)  You can also do a two hour meal break as well.  The one hour is just an option to reduce it that way.

I believe you can call an actor on a day they are no rehearsing (LORT) - I hope so, I do do it all the time.

1955

The Hardline / Re: Another Fitting Question

« on: Feb 02, 2007, 12:27 am »

What contract are you on?

For example, if you are a LORT contract . . . and you reahrse from 6:00p - 11:00p, that's a 5 hour day.

So you have three hours left.

Then you day would be 1:00p - 4:00p, 2 hour meal break, then 6:00p - 11:00p.

So, technically that 1:00p - 4:00p would be in rehearsal hours, and you could schedule a fitting during then.  You can do fittings during the "rehearsal" hours, or up to an hour before there . . . thus it is consective with rehearsal hours, not their specific call.  (For example, if you had an actor who was called for 10:00p to 11:00p, you fitting does not need to be the hour before.)

That is my reading of the rule.  So based on that, you could do a fitting from 12:00n - 4:00p (if this was a LORT contract) and still be with in the rule.  The 12 hour span of day would preclude anything before 11:00a.

That's my reading (based on LORT) - anyone else see it differently?

1956

The Hardline / Re: Costume Fitting Question

« on: Jan 30, 2007, 12:41 pm »

I ALWAYS give the actor a choice to avoid the early call and sitting around doing nothing for an hour after a short fitting.

1957

Students and Novice Stage Managers / Re: Light Walkers

« on: Jan 29, 2007, 09:32 pm »

I have found that when light walkers are standing in for a variety of people, they are usually asked to wark darker colors (avoid brights, whites, etc.)

Sometimes it's just easier to say wear black - and that way the color of the clothing will not interfer.

1958

Employment / Re: resume format

« on: Jan 29, 2007, 06:18 pm »

I can not think of any good reason to put your photo on the resume.

If it is to jog someone's memory, the resume and the work you have done should be able to do that.

1959

The Hardline / Re: Straight 6, 5 and 4

« on: Jan 17, 2007, 12:08 pm »

Also remember, on the LORT contract, the straight six counts as eight hours when you are totalling your week's hours.

(Equity Math)

1960

Stage Management: Plays & Musicals / Re: Unprofessionalism

« on: Jan 09, 2007, 12:52 am »

What is the point of "reporting" the other PA?  What do you want to get out of that?  It situations like this, I advise play it out the end . . . where does this go on the next step?  the step after?

It doesn't seem like the other PA lied about anything.   It doesn't seem like you are overly burdened by her ballroom dancing class.  Let it go.  Remember, in an educational situation, the only person you are in competition is is with yourself.

I wouldn't recommend saying anything, as a SM at a regional theatre, I HATE any sort of pettiness, infighting or competition among my staff, and usually, although I will hear out the complainant, just the general sense of competition will upset me. I am looking for a team, a team that works together.

No, if this PA continues to do this, then I am pretty sure the SM will pick up on what's going on and deal with it accordingly.

1961

Stage Management: Plays & Musicals / Re: Maintaining

« on: Dec 21, 2006, 05:46 pm »

Usually, around opening, I try to find time to talk to my director, usually a nice walk around the theatre, to talk about issues he wants watched with a certain eye, etc.

I find my theory is that the show is a topiary . . . if I am handed a topiary in the shape of bear, it should remain a bear, but should be allowed to fill in, grow, and become richer.  This is bound to happen - especially over a long run.  If it ends up looking like a unicorn or a moose, then I have done something wrong.

1962

Employment / Re: Showcase and Managers...

« on: Dec 18, 2006, 11:04 pm »

Setting up an observation is a great way to get to a peek into that level of theatre, but I strongly discourage as using it as a way to try to get a drop, drop off a resume, etc.  That really should not be the purpose of an observation.

1963

Employment / Re: Showcase and Managers...

« on: Dec 17, 2006, 09:55 pm »

I would recommend make a list of production managers, producers, general managers you would like to meet in the city and send them your resume ahead of time and try to set up a meeting.

You may not make have the time to meet with them them all, but maybe one or two wil answer, and then form there . . .who knows.

1964

The Hardline / Re: Breaks During Run-Throughs

« on: Dec 13, 2006, 09:52 pm »

Check with Equity, but I am sure you are allowed to do read thrus. 

If there is no rule in SPT, and Equity grumbles about it - maybe you can take it to the cast and go, "Hey, look, we are going to run this show without stopping, but then we will take a 20 minute break . . . "  I am sure there is a middle ground.

Curse you Rebbe and your intermissionless shows.

My current show has Act 1 reading at 1 hour and 50 minutes. 

Then we have another hour after that.

I dream of an one act play.

1965

College and Graduate Studies / Re: Apprenticeships

« on: Dec 07, 2006, 08:04 pm »

I would recommend the one I oversee at the Shakespeare Theatre Company, but, tell us more what you want out of the internship, what are your goals, dreams, aspiration . . . hard to give recommendations since each is a different fit.  (Do you need some money, no money, housing, etc . . . )