Messages

2116

Students and Novice Stage Managers / Years and format

« on: Mar 17, 2006, 09:33 am »

I say don't put years on.  It often works to your disadvantage . . . 1) It can show you only have been doing the job for x amount of years, 2) it can show you only do x amount of show per year, 3) or figure out when you were in college and thus used to figure out your age.

I also think that ultimately it's waste of space on resume.

PDF I think is the format to use.

2117

Students and Novice Stage Managers / regional theater

« on: Mar 14, 2006, 12:12 am »

In the regional theater, they belong to the theater.

I don't have a prompt book of my own over the past 5 years.

2118

Stage Management: Plays & Musicals / SM as an Artistic Voice

« on: Mar 12, 2006, 09:16 pm »

Well, it's difficult as a young stage manager in a school student . . . I mean, unless you are taking directing classes and directing shows, actually working with actors, it's a hard responsibility to learn how to do.  I have been stage managing professionally for 15 years, and it is still a challange.

There are SM's who care, and want to maintain the show.  (I am actually in a very interesting position at my current theatre where there is a resident Assitant Director who is actually responsible for maintaining the show artistically - and it is not my responsibility.  Makes my life a lot easier, especailly on long runs.)

I think it is SM by SM basis, but I feel most SMs are interested in doing their job, and doing it the best they can.

2119

The Hardline / alphabet soup

« on: Mar 08, 2006, 10:53 am »

<---- Look to the left bar as there is an acronym link.

American Guild of Musical Artists (opera)

American Guild of Variety Artists (think circus)

Also, if you SM in video, then you might have to think of Aftra. American Federation of Television & Recording Artists  

(I am sure there are Candian versions of these unions as well)

(Sorry, it was early this morning, late night alst night, and the coffee and me are fighting this morning.)

2120

The Hardline / unions

« on: Mar 08, 2006, 09:11 am »

besides Equity.

there is agva and agma.

2121

Stage Management: Plays & Musicals / Step one in dealing with stress

« on: Mar 03, 2006, 05:36 pm »

Um, most stage managers DON'T over commit.  How can I give 100% to the show I am working on if I am over committed.

The best way to deal with stress is to avoid it.

What you described sounds INSANE.  ABSOLUTELY INSANE.

I find that experience is one of the best ways to deal with stress.  Where I use to stress about tech, now I know that I can handle just about anything that may come up in tech, so I don't have to worry.

The things I do to deal with the general stress in my life.

1) I take a block of time that is completely unscheduled for myself on my day off or a night off.

2) I play video games - video games can be some of the best stress relief for stage managers, as well as continue to develop hand and eye co-ordination.  

3) Spoil yourself every once in awhile - a nice lunch, a spa day, a little extra time to sleep in.

4) Drink lots of water, eat right.

5) I try to keep my life very simple.  It's amazing how streamlining your life can allow you to deal with problems easier as they arise.

2122

The Hardline / labor disputes

« on: Mar 02, 2006, 02:25 pm »

remember, inherently there is always some tension between labor and management - always.  (Okay, maybe it some places it is much more low key, but almost everyplace there is some sort of tension.)

It's best to listen to both sides and remember to take each with a grain of salt.  You can also take the educational point of view of trying to see the different points of view and try to see the truth.

Yes, places can end their contract with IATSE - it's a not a nice situation.  And then it would be a non-union crew who would fill their places.

2123

Students and Novice Stage Managers / note to go this hog wild

« on: Mar 01, 2006, 07:48 am »

I have reached point that my book now has a table of contents . . .

here is my table of contents for my current book.

First line is for the tab divider, listed documents are what is put in that section.

Tab Dividers for Stage Management Book  

Calendar
o   Full Production Calendar
o   Actor Conflict Calendar

Contact Sheet
o   Full Contact Sheet (actors)
o   Full Contact Sheet (SM ver.)
o   Company List
o   Who’s Who
o   Final Contact Sheet (Closing)

Info Sheets
o   Company Info Sheets

Character Scene
o   Final Character/Scene
o   Scene Titles

Scene x Scene
o   Scene x Scene
o   Scene Timings

Daily Calls
o   At Closing Confirm all are in book
o   All weekly schedules are in the book from the run.

Production Reports  (this is my name for rehearsal reports)
o   At Opening, Confirm all are in book
o   All Production Meeting Minutes

Performance Reports
o   At Closing, Confirm all are in book

Understudies
o   Understudy Bible
o   Understudy Char/Scene

Scenic
o   Copies of Storyboards
o   Copies of Mini-ground Plans
o   Full Size ground plan (Closing)
o   Pictures (as needed)
 
Costumes
o   Renderings
o   Rehearsal Costume Request
o   Item List
o   Quick Change Plot
o   Dressing Room Assignments

Props
o   Final Prop List
o   Prop Pre-Set
o   Pictures (as needed)
o   Prop Cards (if possible)

Sound
o   Sound Plot
o   Music List
o   Sheet Music (as needed)
o   Copy of Recordings (as needed on CD)

LX
o   Cue List
o   Cue Light Plot (on Map)
o   Cue Light Labeling (Diagram)

Fight
o   Copies of Fight Notation
o   Fight Notes
o   Weapons Notes
o   Blood Tracking

Dance
o   Copies of Dance Notation

EFX/Projections
o   EFX Cues
o   EFX Safety Concerns
o   EFX Blocking
o   Projection Tracking
o   Projection Images
o   Fire Tracking

Vocal Work
o   Pronunciation Sheet
o   Vocal Notes

Script
o   Clean Copy of Calling Script (Closing)
o   Clean Copy of Blocking Script (Closing)
o   Old Pages

 
Script Changes
o   Master Cut List
o   Daily Cut Lists

Run Book
o   At closing, clean copy of run book.
o   Spike Chart
o   Top of Show Preset
o   Preset and Post Show Duties

AEA Info
o   Copy of Ballots
o   Copy of Election Results
o   Equity Correspondence

Correspondence
o   Copies of all Correspondence
o   Call Board Postings
o   Late Notices
o   Copies of Workman Comp Forms (Closing)

Notes from the Director
o   Copies of Notes from the Director

Misc
o   Birthday List
o   Distribution (rehearsal hall)
o   Distribution (E-mail)
o   Evacuation Form
o   Copy of the Program

2124

Stage Management: Plays & Musicals / age

« on: Mar 01, 2006, 07:45 am »

you can ask for birthdate, but no year.

you can ask if they are over 18 or under 18.

once they are cast, you can ask for thier complete birthdate with year.

2125

College and Graduate Studies / Check Old Posts

« on: Feb 27, 2006, 03:48 pm »

You should check old posts as we have covered this before.

Which school is the best depends on which school is the best for you (you skill level know, your interests in where you want to go, etc, etc).  There is no best school.

Look at the following schools . . .
Yale
UCSD
UCI
Cal Arts
U of Deleware
Rutgers
University of Alabama/Alabama Shakespeare
CC of Music
UM/Kansas City
UI Urbana Champagne

I have links to some of these schools on my web site:

http://www.stagemanager.net/Resources.html

I can answer questions about UCSD, as that is where I went to school, and many people can offer advice, but be warey of anyone saying one school is better then the other with knowing more about you.

2126

Stage Management: Plays & Musicals / What I do

« on: Feb 19, 2006, 02:31 pm »

What I do at my theatre . . . which specializes in classical theatre.

We do four days of rehearsals, with the understudies in the roles they are understudying.  (If an understudy understudies two roles in one scene, they we work the scene twice.)  I DO NOT call the regular EQUITY cast members to stand in, but I usually call the NON-EQUITY normal cast to help fill in the gaps as needed.

During these four days, we also do the understudy costume fittings, understudy vocal work, understudy fight and dance work.  I work very closely with the AD, who actually is directing the understudies.  

On the fifth day, we finish all the fight and dance work, and then do a little bit of tech.  (Like speciality items).  The last thing we do is a understudy run thru, with the understudies playing the role, we add in lights and sound (no costumess), and the rest of tech.

2127

Tools of the Trade / Confessions of a Kitless Stage Manager

« on: Feb 10, 2006, 12:11 pm »

Hi, my name is Matthew.  

(Hello Matthew)

I am a stage manager who doesn't use a kit.  

(GASP FROM THE GROUP AROUND THE ROOM)

Yes.  I have a kit.  I have a very large kit on wheels. I had it from the time I used to do a lot of freelance, but since becoming a resident SM, with an office, an office supply closet, an entire room for storage of extra supplies, and a work filled first aid cabinet.

The Stage Management Kit is a very personal thing, and has a lot to do with how much you feel responsible for.  (Some SM's travel with a full toolkit, I don't do tools.  Not that I feel it is below me, I just don't trust my handicraft work.)

Basically, you should have enough supplies to do the job you need to do - and that is all basically the over riding rule to live by.



There is my deep dark secret.

2128

The Hardline / IA /AEA

« on: Feb 02, 2006, 05:25 pm »

You can be a member of both.  For any given job you will be on a contract with a specific union for a specific job so you play by those rules.

The biggest problems is that a lot of stage managers tell jokes about IA guys, which will in the end possibly have you making fun of yourself.

2129

Stage Management: Plays & Musicals / my 2 cents

« on: Jan 31, 2006, 01:01 pm »

if I have a choice, I choose backstage.

2130

Stage Management: Plays & Musicals / my 2 cents

« on: Jan 29, 2006, 12:18 pm »

Okay, I am just wondering what the real problem is here.

I don't get confirmations from my standbys, except from the deck crew . . . (because they need to physically move from one place to another), otherwise I expect the board operator to be ready.  I tend to do some very busy shows, and counting 8 or 9 standbys  would be kind of tedious and in the end, probably obtrusive to my calling the show.  Often, the sound operator, who is either right in front of an open window or mixing in the house, can’t give standbys.  My LX operator sits within eyesight, I can see his hand move to the button.

The original question seemed to be about board operators being on computers, reading, etc . . . which, quite frankly, I think for 2 ½ hours a night you should pay attention to the show, but I know how hard it is to watch the show over and over and over and over again.  I find in my experience it’s better if the board operator is not watching the show all the time.  They should go into stand by, take a cue, watch the cue execute and then what they do after that until the entire process starts over again is really none of my business.  So, I don’t care if they are reading a book, reading online, etc, etc. What is important is that the cues are taken on my “go” and they are.

I think if the situation warrants a response to the standby, then the SM should request it.  If the SM just kind of is demanding a response for the heck of it, it may seem a little like a power trip, and that should probably be avoided.