226
Stage Management: Plays & Musicals / Re: When a company comes together
« on: Jun 19, 2006, 04:02 pm »
Thanks for sharing your story!
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
Show Posts
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
227
Stage Management: Plays & Musicals / Re: Noises Off
« on: Jun 18, 2006, 11:16 pm »
Read the play and start work now. As Amylee said -- it's a huge challenge but tons of fun.
Just don't let your cast BECOME the actual cast of the show!
Just don't let your cast BECOME the actual cast of the show!
228
Stage Management: Plays & Musicals / Re: TECH WEEK
« on: Jun 18, 2006, 11:14 pm »
"A well-fed crew is a happy crew"
likewise for the cast.
Food. That's always my answer. Make sure they are well fed. In high school, you might be able to get the parent boosters to sponsor pizza night for everyone on what you think will be the worst night of tech.
Or maybe its just because I get really cranky when I'm hungry and so I figure everyone else does too. =)
likewise for the cast.
Food. That's always my answer. Make sure they are well fed. In high school, you might be able to get the parent boosters to sponsor pizza night for everyone on what you think will be the worst night of tech.
Or maybe its just because I get really cranky when I'm hungry and so I figure everyone else does too. =)
229
Stage Management: Other / Re: Stage Managing Dance?
« on: Jun 18, 2006, 11:04 pm »Quote
It sort of left me wondering, what on earth does the SM do during all that free time where there are no lighting and sound cues (this was a 4 hour show with 12 dance pieces, automated flys and no other set)
Sit on cans and chit chat. =)
At least that's what I do when we have long stretches of nothing. Of course, that's pretty rare.
230
Stage Management: Plays & Musicals / Re: International Show Calling
« on: Jun 18, 2006, 06:36 pm »
Yikes, that's detailed!
okay, here goes for a standard ballet (at least the way I call it), an evening show (we start at 7:30)
7:00 Half hour call/check sign in sheet/call late dancers
Over page mic: "Ladies and gentlement of the ________________Ballet Company, we are at half hour to the top of the ballet. If you have any valuables you wish to be locked up, please bring them backstage right to the stage manager stand at this time"
(I do my valuables lock up by giving everybody an envelope with their name; they put anything they want locked up in that envelope and then bring it to me).
7:15 15 minute call over page mic (Ladies and Gentlemen of the __________Ballet Company, 15 minutes to the top of Act I), Over cans: "On the rail, this is your Q light check: red (rail respond: red) blue (rail: blue) green (rail: green)." If we had deck Q lights I would check those too but we don't.
7:20 10 minute call (over page mic)
7:25 5 minute call/"Maestro and the orchestra to the pit please"
FOH: are we able to start on time or are we going to need a hold?
Headset check: Lights, sound, props, rail, deck LX, TD, prod. carp, ASM, maestro, anyone else on cans
7:28 (if no hold)
Over page mic: "Ladies and gentlement of the __________Ballet Company, places for the top of Act I please. Ms._____________to backstage right for pre-curtain speech"
Standby House to half, spots to pick up Ms. _______________CS, carps to page grand drape
To ASM over cans: "Are all dancers in place?"
ASM: "yes they're all here," or "no, we're waiting for so-and-so to get pointe shoes on" (or whatever the case may be)
When all dancers in place:
7:30 House to half go, (LX: House is at half) Ms._______________GO, spots there she is.
During her speech: Standby for the SM God speech, House out, Maestro, Maestro Special up and out
When her speech is complete: SM God mic up (Sound: you're hot)
"Good evening, and welcome to the _________________Ballet Company. We would like to remind you that the use of any recording device is strictly prohibited, especially flash photography as it is dangerous to the dancers. Also, please take this moment to turn all cell phones and pagers to their silent modes. Thank you, and enjoy the performance."
(Sound: you're back)
SM: Flashing to tune
(Flash to tune -- leave pit light on)
On second tuning: House out GO
When tuning complete: Maestro GO
When Maestro on podium: "Maestro special up GO" (Maestro bows, when he turns around then:)
"Maestro special out GO"
(pit light off)
During overture (if there is one....if not, then all of these Qs are dispersed through the above dialogue)
Warning on Rail Q 1
Standby LX ______
LX _____GO
Standby Rail Q 1 (light on) and spots to pick up Clara and Fritz center stage, Spot 1 you'll be on Clara, spot 2 on fritz, both frames 2 & 4 with frost, take that pick up on your own.
Rail Q 1 GO (light off)
Etc. etc. etc......
and that's about that. I don't ask for any acknowledgement because I'm working with professionals and trust that they will be there to do their job. Other stage managers do. It depends on the crew, company, venue, etc.
For the rail I don't always use verbals, sometimes the calls will go like this:
Warning on Rail Q 1 on red, 2 on blue, 3 on green, no verbals on those
Q lights go on at the standby and off at the GOs.
Deck Qs go like this:
-- Warning on Deck -- the table on and chairs off
-- Standby on Deck, LX _____,
-- Deck GO, let me know when your'e clear
Deck: "Clear"
My ASM will often get calls like this:
"Let me know when they are clear" (referring to dancers)
ASM: "Clear"
LX____GO, etc....
During the nutcracker, I give 5 minute warnings over page mic to the mice, angels, and bon bons. I also always give 5 minute warnings to the end of each Act, the end of the ballet, and 5 minutes to bows.
I also don't number my deck Qs; if there a TON of them I will do deck Qs as letters (since there are usually no sound Qs in ballet).
Depending on the ballet my calls will be pretty informal (i.e., the nutcracker, since we've all done it 10 million years in a row).
don't know if that's really specific to the U.S., but it is pretty specfic to my company, I guess!
okay, here goes for a standard ballet (at least the way I call it), an evening show (we start at 7:30)
7:00 Half hour call/check sign in sheet/call late dancers
Over page mic: "Ladies and gentlement of the ________________Ballet Company, we are at half hour to the top of the ballet. If you have any valuables you wish to be locked up, please bring them backstage right to the stage manager stand at this time"
(I do my valuables lock up by giving everybody an envelope with their name; they put anything they want locked up in that envelope and then bring it to me).
7:15 15 minute call over page mic (Ladies and Gentlemen of the __________Ballet Company, 15 minutes to the top of Act I), Over cans: "On the rail, this is your Q light check: red (rail respond: red) blue (rail: blue) green (rail: green)." If we had deck Q lights I would check those too but we don't.
7:20 10 minute call (over page mic)
7:25 5 minute call/"Maestro and the orchestra to the pit please"
FOH: are we able to start on time or are we going to need a hold?
Headset check: Lights, sound, props, rail, deck LX, TD, prod. carp, ASM, maestro, anyone else on cans
7:28 (if no hold)
Over page mic: "Ladies and gentlement of the __________Ballet Company, places for the top of Act I please. Ms._____________to backstage right for pre-curtain speech"
Standby House to half, spots to pick up Ms. _______________CS, carps to page grand drape
To ASM over cans: "Are all dancers in place?"
ASM: "yes they're all here," or "no, we're waiting for so-and-so to get pointe shoes on" (or whatever the case may be)
When all dancers in place:
7:30 House to half go, (LX: House is at half) Ms._______________GO, spots there she is.
During her speech: Standby for the SM God speech, House out, Maestro, Maestro Special up and out
When her speech is complete: SM God mic up (Sound: you're hot)
"Good evening, and welcome to the _________________Ballet Company. We would like to remind you that the use of any recording device is strictly prohibited, especially flash photography as it is dangerous to the dancers. Also, please take this moment to turn all cell phones and pagers to their silent modes. Thank you, and enjoy the performance."
(Sound: you're back)
SM: Flashing to tune
(Flash to tune -- leave pit light on)
On second tuning: House out GO
When tuning complete: Maestro GO
When Maestro on podium: "Maestro special up GO" (Maestro bows, when he turns around then:)
"Maestro special out GO"
(pit light off)
During overture (if there is one....if not, then all of these Qs are dispersed through the above dialogue)
Warning on Rail Q 1
Standby LX ______
LX _____GO
Standby Rail Q 1 (light on) and spots to pick up Clara and Fritz center stage, Spot 1 you'll be on Clara, spot 2 on fritz, both frames 2 & 4 with frost, take that pick up on your own.
Rail Q 1 GO (light off)
Etc. etc. etc......
and that's about that. I don't ask for any acknowledgement because I'm working with professionals and trust that they will be there to do their job. Other stage managers do. It depends on the crew, company, venue, etc.
For the rail I don't always use verbals, sometimes the calls will go like this:
Warning on Rail Q 1 on red, 2 on blue, 3 on green, no verbals on those
Q lights go on at the standby and off at the GOs.
Deck Qs go like this:
-- Warning on Deck -- the table on and chairs off
-- Standby on Deck, LX _____,
-- Deck GO, let me know when your'e clear
Deck: "Clear"
My ASM will often get calls like this:
"Let me know when they are clear" (referring to dancers)
ASM: "Clear"
LX____GO, etc....
During the nutcracker, I give 5 minute warnings over page mic to the mice, angels, and bon bons. I also always give 5 minute warnings to the end of each Act, the end of the ballet, and 5 minutes to bows.
I also don't number my deck Qs; if there a TON of them I will do deck Qs as letters (since there are usually no sound Qs in ballet).
Depending on the ballet my calls will be pretty informal (i.e., the nutcracker, since we've all done it 10 million years in a row).
don't know if that's really specific to the U.S., but it is pretty specfic to my company, I guess!
231
Stage Management: Plays & Musicals / Meet your mod!
« on: Jun 17, 2006, 01:17 am »
Hello from your moderator!
A little bit about myself:
I am in my first year in the graduate program at UCSD pursuing my MFA in stage management. For the past 3 1/2 seasons, I was the Production Stage Manager for the Grand Rapids Ballet Company and also did freelance work for community theatres around town and snagged the occasional choreography and directing job when I can. In a not-too-distant previous life I was a figure skating coach and student.
What should be posted on this board?
It seems like a pretty broad topic, but the title should be self explanatory -- anything pertaining to plays and musicals. Concerns or questions about how to deal with actors, directors, designers, or other company members, issues with how to call a difficult show, problems with the nature of a venue or rehearsal hall, how to do a production analysis, what do with a new play....all examples of the kinds of things you can talk about here.
Please look at the other forums before you post!
Do you have a question about what brand of gaff tape is better? Post that on "tools of the trade." Are you unsure about how to refer to company members in an opera? Post that under "Stage Management: Other." Need help with your resume? Stick it on "Employment." Wanna talk about something not related to stage management at all? Post in "The Green Room." Topics of that nature that get posted here will get moved to those other forums. Also, a question you might be wanting to post may show up in one of those forums.
Any particular rules?
None but the usual. Plese refrain from excessive use of bad language, trash-talking, or awful gossip. Please know this is a public forum -- anyone can read, anyone can post.
All that said...
Keep the good discussion coming! It is always good when we are forced to think about our jobs - so feel free to challenge each other with difficult questions and issues!
A little bit about myself:
I am in my first year in the graduate program at UCSD pursuing my MFA in stage management. For the past 3 1/2 seasons, I was the Production Stage Manager for the Grand Rapids Ballet Company and also did freelance work for community theatres around town and snagged the occasional choreography and directing job when I can. In a not-too-distant previous life I was a figure skating coach and student.
What should be posted on this board?
It seems like a pretty broad topic, but the title should be self explanatory -- anything pertaining to plays and musicals. Concerns or questions about how to deal with actors, directors, designers, or other company members, issues with how to call a difficult show, problems with the nature of a venue or rehearsal hall, how to do a production analysis, what do with a new play....all examples of the kinds of things you can talk about here.
Please look at the other forums before you post!
Do you have a question about what brand of gaff tape is better? Post that on "tools of the trade." Are you unsure about how to refer to company members in an opera? Post that under "Stage Management: Other." Need help with your resume? Stick it on "Employment." Wanna talk about something not related to stage management at all? Post in "The Green Room." Topics of that nature that get posted here will get moved to those other forums. Also, a question you might be wanting to post may show up in one of those forums.
Any particular rules?
None but the usual. Plese refrain from excessive use of bad language, trash-talking, or awful gossip. Please know this is a public forum -- anyone can read, anyone can post.
All that said...
Keep the good discussion coming! It is always good when we are forced to think about our jobs - so feel free to challenge each other with difficult questions and issues!
232
Stage Management: Plays & Musicals / Scheduling Rep
« on: Jun 15, 2006, 09:34 am »
If you are going to be primarily emailing this out with few printed paper copies for everyone, use a different color for each show. this will help you differentiate -- although it won't do any good if you have to black-and-white-copy everything.
Or just do calendars by week; creates more paper but also gives you more room for each date and if it helps keep everyone oranized and on track.
Or just do calendars by week; creates more paper but also gives you more room for each date and if it helps keep everyone oranized and on track.
233
Employment / how long do you wait for a response?
« on: Jun 14, 2006, 12:57 am »
I have to send out "thanks but we can't offer you a contract" letters to ALL the dance auditionees every year. And our art. directors have to sign them ALL. by hand. no inserting of their scanned signatures. this season I sent out about 200 letters.
I feel that if someone is not getting a job but took the time to put together a nice audition package, or in the case of dancers, perhaps purchased a plane ticket to come audition for our company, the least we can do is send them an actual signed letter telling them we can't offer them a contract but they are welcome to audition for the following season.
It's not that bad -- was about a day's work for me total (spread out over a few days). I enter all the auditionees addresses into an excel doc, with each field separate (Column A: title B: first name C: last name etc.). Then I go to word and type the form letter in, and set up a mail merge. I also set up a mail merge for labels. Hit print, and go do something else while they print.
Put them in the AD's boxes to sign.
When I get them back, I take them all home, and sit in front of the TV to fold, seal, stamp, and label.
Now, with the dancers it's a little bit different -- they're looking for a season contract and we tell them when they audition that we will be making decisions by X date, so they know they won't hear anything from us, yes or no, until after that date.
Good luck. Waiting is always the hardest part.
I feel that if someone is not getting a job but took the time to put together a nice audition package, or in the case of dancers, perhaps purchased a plane ticket to come audition for our company, the least we can do is send them an actual signed letter telling them we can't offer them a contract but they are welcome to audition for the following season.
It's not that bad -- was about a day's work for me total (spread out over a few days). I enter all the auditionees addresses into an excel doc, with each field separate (Column A: title B: first name C: last name etc.). Then I go to word and type the form letter in, and set up a mail merge. I also set up a mail merge for labels. Hit print, and go do something else while they print.
Put them in the AD's boxes to sign.
When I get them back, I take them all home, and sit in front of the TV to fold, seal, stamp, and label.
Now, with the dancers it's a little bit different -- they're looking for a season contract and we tell them when they audition that we will be making decisions by X date, so they know they won't hear anything from us, yes or no, until after that date.
Good luck. Waiting is always the hardest part.
234
Stage Management: Plays & Musicals / Easy Question (Cut and Paste Prompt Scripts)
« on: Jun 13, 2006, 01:02 am »
I still use the copy-cut-and-paste method sometimes. I've found no other great way to do musicals when you're trying to integrate the script and the score. At least not until they create the electronic library of music and scripts....
Plus, making copies (which I can do at the theatre) is usually cheaper than printing out an entire script, which depending on its length could take up a whole ink cartridge (which I have to cover the cost of since its on my own printer).
I suppose I could scan everything in and use photoshop...but my guess is that this would end up being more time consuming that copy/cut/paste, and then you're left again with the printer issue discussed above.
Maybe I'm just old fashioned...but then I think it also goes back to the "whatever works for you."
Elmers makes an AWESOME gluestick called the "office gluestick." Specifcally designed purely for gluring 20-28 lb. paper onto other paper, and nothing else. It's blue, and its the best stuff I've found.
Plus, making copies (which I can do at the theatre) is usually cheaper than printing out an entire script, which depending on its length could take up a whole ink cartridge (which I have to cover the cost of since its on my own printer).
I suppose I could scan everything in and use photoshop...but my guess is that this would end up being more time consuming that copy/cut/paste, and then you're left again with the printer issue discussed above.
Maybe I'm just old fashioned...but then I think it also goes back to the "whatever works for you."
Elmers makes an AWESOME gluestick called the "office gluestick." Specifcally designed purely for gluring 20-28 lb. paper onto other paper, and nothing else. It's blue, and its the best stuff I've found.
235
Stage Management: Plays & Musicals / Stop The Show!
« on: Jun 13, 2006, 12:51 am »
Never had to stop a show, but I shudder to think of the day when I will have to (and I'm sure I will at some point...)
How have you smoothly stopped a show? Bring in the grand drape and make an announcement over the god mic? Or maybe I should phrase the question, what are the different ways that you all have stopped the shows?
How have you smoothly stopped a show? Bring in the grand drape and make an announcement over the god mic? Or maybe I should phrase the question, what are the different ways that you all have stopped the shows?
236
The Green Room / Food
« on: Jun 08, 2006, 02:29 am »
Coffee...i know its completely bad for you and raises blood pressure and all that...but I am totally addicted to Skim Lattes.
At the ballet company whenever a dancer goes to starbucks (there's one right next to the theatre) between their warm up class and half hour, they know they don't dare leave without stopping to ask me if they can get me something...and really, they don't even have to do that, they just come to me to get my $4 (yes...its an expensive vice!) to pay for it. during Nutcracker last season there were two girls in particular who became my "dealers" as i started to call them. At the end of our run I got them each a gift card to starbucks for carrying my coffee for three weeks straight!
during tech week i tend to try and eat at least one vegetable and one piece of fruit throughout the day -- i know you're supposed to have a lot more but i think its best to set realistic goals here. =)
At the ballet company whenever a dancer goes to starbucks (there's one right next to the theatre) between their warm up class and half hour, they know they don't dare leave without stopping to ask me if they can get me something...and really, they don't even have to do that, they just come to me to get my $4 (yes...its an expensive vice!) to pay for it. during Nutcracker last season there were two girls in particular who became my "dealers" as i started to call them. At the end of our run I got them each a gift card to starbucks for carrying my coffee for three weeks straight!
during tech week i tend to try and eat at least one vegetable and one piece of fruit throughout the day -- i know you're supposed to have a lot more but i think its best to set realistic goals here. =)
237
Students and Novice Stage Managers / script analysis
« on: Jun 02, 2006, 12:11 am »Quote
I was just wondering if any of you actually use the techniques we will be learning. Aka breaking down the script (other than scene breakdowns) into structures and stuff like that
Absolutely! I've worked with several different directors who rely on this style -- during blocking they spend the first half hour breaking down the script into beats, naming those beats, and then blocking based on those beats. As the stage manager, I write all of this down so later on in the rehearsal process when everyone says, "what were we thinking here?" I have something in writing to refer back to. It's helpful to know where the director is coming from and what they are talking about -- you're only going to earn more of their trust.
As a stage manager I've discovered that any bit of craft and technique you can learn and pick up along with the way will inevitably help you at some point in your career!
Keep at it....I promise it will pay off at some point!
238
Students and Novice Stage Managers / computerized paperwork
« on: Jun 01, 2006, 08:00 am »
yeah...I think I can go along with all of those!
239
Students and Novice Stage Managers / computerized paperwork
« on: May 31, 2006, 08:11 pm »
hmm...I would like to hear those 10 reasons. =)
240
Stage Management: Plays & Musicals / Creating a call script
« on: May 29, 2006, 04:48 pm »
Question for people who use electronic scripts and call books -- what do you do, type the whole script over, or scan the pages onto your computer?
Anyone out there do this with musicals, or better yet, an opera or balllet score? How do you justify the time that this takes? Or are you lucky enough to have interns who can do it, or an expense account to be able to take it to the copy center and pay $1 per page to have them scan it?
My Peter Pan score was a full 3"-3 ring binder for just the music - I can't imagine what the time would be to scan all that into a computer, esp. since most of the scores are oversized and old and falling apart!
I guess until they come out with an online library of scores and scripts that you can download as word or PDF documents, it will be paper, pencil, and post its for me!
Ballets are constantly remounted and the Bible is the most important documentation -- but if the paper copy is ever lost, there are always clean copies of the scores in the "score drawer" at the studio, 3 copies of the Q sheets (paper, hard drive, and CD), and always a DVD to watch to re-create Qs.
Anyone out there do this with musicals, or better yet, an opera or balllet score? How do you justify the time that this takes? Or are you lucky enough to have interns who can do it, or an expense account to be able to take it to the copy center and pay $1 per page to have them scan it?
My Peter Pan score was a full 3"-3 ring binder for just the music - I can't imagine what the time would be to scan all that into a computer, esp. since most of the scores are oversized and old and falling apart!
I guess until they come out with an online library of scores and scripts that you can download as word or PDF documents, it will be paper, pencil, and post its for me!
Ballets are constantly remounted and the Bible is the most important documentation -- but if the paper copy is ever lost, there are always clean copies of the scores in the "score drawer" at the studio, 3 copies of the Q sheets (paper, hard drive, and CD), and always a DVD to watch to re-create Qs.