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Messages - loebtmc

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211
First, take a deep breath. And then another.

It sounds like your job description has shifted, and with it your responsibilities and your work load.

1) You need your own script. This is not the tech script, this is the ASM/deck manager script, and it is not to be shared. The TD needs to get his own shared one for the shop.
Once you reclaim that script, read it. Read it again. And again. Out loud if it makes better sense. Then go through it and break it down. Separate the scenes, and all the obvious props and shifts. Then take assiduous notes during rehearsal to make sure everything is written down. Then organize it in a way that makes sense to you.
Bring paper and pencil with you everywhere and take notes on everything: Actor entrances/exits, wagon shifts, possible costume QCs, perishable or delicate (or dangerous) props .... EVERYTHING.

2) Don't touch things that you don't know about. Ask first. Always. Same things as the rule for props.

3) Cut yourself some slack. You are learning. You will make mistakes. That's ok, just don't let them stop you.

4) Do one thing at a time. Today, for example, take all prop notes (write down everything regardless, but don't worry abt organizing the costume/set/etc). Track them in a way that makes sense to you, but allows room for things to change (including who brings it on/off, where it lives before and after, etc).

5) Breathe.

6) Breathe.

7) Be willing to apologize - but not toady. Be willing to forgive yourself.

8 ) Be willing to look for middle ground, for creative solutions, for middle ground. Find appreciation and find love.

9) BREATHE.

10) Use this site as the amazing resource it is - for forms, for advice, for support.

11) BREATHE.

12) See a doctor if any of your symptoms appear again. Immediately.

212
Tools of the Trade / Re: Ergonomics and the Tech Table
« on: Jun 19, 2014, 05:18 pm »
....unless you are a klutz, or running, of course.

213
The Green Room / TCG San Diego!
« on: Jun 18, 2014, 11:14 pm »
Anyone else in San Diego for TCG this week? If so, give me a holler, I'd love to meet more folks. And San Diego SMs, any chance I can meet any of you on THU nite?

My email access will be spotty (I am volunteering, so limited time frames during the day, and also staying at a friend's house where there is no internet. Really.), but if there's a chance to gather, I'd love to meet some of y'all. If anyone PMs me with your info I will call back as soon as I can.

And, at least in theory, I am seeing the play at Mo`olelo on Fri nite. (Originally staying thru Sunday, but now I have to work on Sun morning in LA, dammit!)


214
Tools of the Trade / Re: Ergonomics and the Tech Table
« on: Jun 18, 2014, 11:08 pm »
Me too, altho maybe not for super complex calls.....

215
Stage Management: Plays & Musicals / Re: FORMS: Mic Plot help
« on: Jun 18, 2014, 02:10 pm »
This is oversimplified, but: You can also hand this all off to the sound op - since that's their job. You know who speaks when, but they assign mics and swaps and packs, so they can do the paperwork once you tell them who needs to be heard at what times.

Unless I am the one running the board, I don't need to know which channel player X is in, only that player X has a pack and is singing in the chorus or player Y has a solo, and I have relayed that to my sound person.

[on edit] if this is for a class assignment, peruse the forms available on this site, but be sure to give credit where credit is due!

216
Introductions / Re: Greetings from Sunny San Diego!
« on: Jun 15, 2014, 03:58 pm »
There are a pile of us in LA - but as it happens, I will be in SD for the TCG conference next week, and hoping to see friends on Thu/Fri nites in shows.

217
agreed = and the many actors who DO write their blocking and take notes (and add in directors notes) will not be happy.

But most of all, it would make me nuts to run rehearsal or a show w no paper script. Tracking all the versions of blocking, verbiage going in and out, jumping around, all are easier with paper. During tech, going Q2Q and moving things around. During the run - jumping between pages (finding the spot if an actor jumps, or if the next cue is several pages ahead so I have flagged my s/b), or calling from a booth where I need it super dark to see and only want my tiny pin light (which sometimes is turned off) to call.....and the many, many times technology has failed and I have had to rely on old school techniques and quick wits - all those reasons and so many more make me want to always have access to a hard copy i can write in.

218
omaira17, I think perhaps the difference is the level of theater. Meaning no offense, and while there is always the occasional someone who abuses the system, in professional theater the cast gets a contact list - for many reasons! And, similar to Matt, when I collect the emergency contact forms, I always make sure they've checked which info they approve showing up on the Final Contact, which everyone gets. That is the master form of everyone who dealt w the show, including all contact info.

Having worked w many actors at all levels who have been stalked or have rabid fans (or as just a little too over themselves), I am very careful about who gets info, but it certainly helps locally with things like carpools and car trouble, and it allows those who wish to get together on their own time to review, rehearse or just go to dinner. And out of town, it allows them to connect to their companion to the museum or movie or wherever, too.

But no, never ever posted -

219
if you have an assistant (or assistants), you can work it the way we do with large casts - divvy up people or sections of the stage and then you marry the notes together for the whole picture.

220
The Green Room / Re: Actor fired after confronting heckler
« on: Jun 04, 2014, 05:59 pm »
And this brings home one of many, many challenges on the 99-seat plan. Chances are, no one from house inside (as would happen in a union show), an inexperienced SM who may or may not have a way to access the actors, the house or the audience, and a producer who is afraid to take action.

I did a 99-seat show as an actor during which someone was filming. The producers were in the house watching, a row behind this person, doing nothing. The cast was backstage muttering and threatening not to come back on for the next scene unless something was done. Because it was in character, I grabbed the camera as I passed her, muttering something appropriately nasty that fit my character, and during intermission I erased the tape.

Turns out, it was the lead's sister, taking pictures at his request. He didn't think he had to ask anyone for permission to shoot his scenes (despite the fact that he was not alone on stage), and even though we had just gone through all this with a request from someone else to tape as well as the show's request for an archive video. He called me all kinds of terrible names when I refused to return the camera until the end of the show. The producers thought the cast was being unprofessional to threaten not to come back after intermission if nothing was done, and they wanted no responsibility. The only action they thought appropriate was to ask her politely to stop (without erasing anything) and be ok with being refused. These producers were terrified of liability.

I told them I was planning to return it after bows, which I did.

Now, when I was a house manager back east, we were told it was within our legal rights to keep any illegally used things like cameras (altho we regularly only confiscated them until end of show, returning them afterward with a warning). Since what they are doing was knowingly illegal, and since the audience members had been warned by both preshow schpiel and signage, we were entitled to confiscate those items.

221
yes - BayAreaSM gave a better cleaner version of what I suggested

222
Have you thought about a simple handout that briefly explains your role and how to reach you and that you hand out to everyone - with the understanding that they may not know how things are different in the US.

223
The Green Room / Re: The Next Great Adventure
« on: Jun 01, 2014, 11:05 am »
Wow. Good luck (break a leg?) and enjoy. Alaska is incredibly beautiful, and there is much to enjoy.

224
Students and Novice Stage Managers / Re: SM Team Hierarchy
« on: May 29, 2014, 12:23 pm »
I agree - not sure why you can't be called the ASM.  It's the long haul evidence to stem the veritable tidal wave of concession requests to waive the ASM by making sure producers understood that an ASM is a vital member of the team by having that title/role in play always, whether it's a union or nonunion ASM.

225
The Hardline / Re: Director Giving Notes
« on: May 29, 2014, 02:35 am »
what Matthew said. If the producer says it's locked, it is locked, and if the director has an issue, she needs to go to the producer, not you.

And - she needs to understand that notes from her are notes from her. The kind of examples you cite - well, yes, I would rewrite as "director requested you double check your lines on p. x."

The 99-deat plan is a unique little monster, and my best advice is to call Michael Van Duzer in the LA AEA office as he knows best what's kosher and what's not.

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