Messages

226

Stage Management: Plays & Musicals / Re: Producing New Plays

« on: Dec 07, 2006, 11:48 pm »

New plays can be crazy, but I find them challenging in a good way, and really like being involved in the full page-to-stage process.  A big key to making the process run smoothly is getting everyone to start, literally, on the same page.
I'd tell the playwright, producer, director, and anyone else who needs to know, that you will be the distributor of the script from this point forward, and all future changes should go through you so they can be tracked properly, and new pages issues as needed.  The playwright can still re-writes at home, but should then send them to you for formatting.   

I’d echo what others have said about getting an electronic version of the script.  The easiest way to do this is to through the playwright, but I’ve also been in situations where the theater can request one from the publisher. I’ve even been told that you could take a book or printout to a Kinkos and they can create an editable, electronic version for you.  If all else fails, strongly consider retyping the script yourself.

If you have the First Rehearsal script electronically, also print it out and review it for weird page breaks, lines or words that start on one page and end on another, lack of page numbers, that sort of thing.  When you think you’re finished tweaking on the computer, print it out again (it’s worth the paper) and proof read to make sure your changes haven’t caused other format problems.  Always SAVE AS when you make changes, so you maintain previous versions.   

During rehearsals, I’d keep a “Cut List” to track script changes as they occur.  I’ve posted an example of the one I use in the Forms Forum.  If a large chunk of text changes, you can go into the electronic version of the script, update, and re-print just the pages you need.  I usually insert a text box at the top of the page saying “Updated on xx/xx,” and where possible I bold the text that has changed, as well.  Another good practice is to maintain an up-to-date Master Script (other than your call book, which has tons of extra notes in it) that lives in the rehearsal room.  Sure, you’ll have the electronic version, but sometimes making a photocopy of an hard copy is more expedient than getting on a computer and printing it out. 

In your situation, I’d figure out how much time you need to create an electronic version of the script and make copies of them for everyone.  Then let the director and playwright know that you’re going to prepare First Rehearsal scripts on X date and time, and if they make additional changes after that, you will issue cut lists and new individual pages to reflect those changes.

Break a nail!

227

Uploaded Forms / Script Changes

« on: Dec 07, 2006, 11:24 pm »

My ASM and I (yay Cheryl) came up with this excel document for tracking script changes.  We called it the Cut List, but it’s for changes and additions as well as cuts. 

The BLANK tab is a form we’d print out, blank, and have next to us in rehearsal to make handwritten notes about changes as they occurred.  We’d later type up the changes on the computer (cut list tab), and email it out and/or distribute hard copies.

Several people told us they’d never seen script changes tracked in quite this way, so I’d love to see how other SMs are format their “cut lists.”

228

Stage Management: Plays & Musicals / Re: Warm-up/ Games

« on: Dec 03, 2006, 04:58 pm »

I don’t participate in physical warm-ups or character building exercises, but I’ll follow the director’s lead in occasionally playing along with the ice breaker/getting to know you types of games.  Most of the time I catch up or get ahead on paperwork while they do them.   

In an Equity setting, I can only recall one director doing general movement/warm-up exercises with the cast, and those were mostly during the first week of rehearsals.  For non-eq shows and in college, I’ve seen directors who do them at the start of almost every rehearsal and some previews.

During performances, it’s usually up to the actor to individually do whatever kind of warm-ups they need or want, and I’m not involved in those, though I or my ASMs may be onstage doing pre-show checks at the same time. Sometimes I’ll see a pair or trio of actors who like to do a few pre-show warm-ups together.  I’ve seen my small-cast shows sometimes create a pre-show ritual together.  One group did a 5 minute sun-salutation before ½ Hour.  Another gathered and each took a candy heart (ala Valentine’s Day) and shared the silly message with the group. By the time the actors are doing their thing, I’ve already been at the theater for well over an hour, and am as warmed up as I’m going to get.  Plus, I want to be available for last minute issues from crew or the house, not engrossed in a cast warm-up.

229

The Hardline / Re: prompt book

« on: Nov 21, 2006, 04:20 pm »

In an AEA setting, the prompt book typically stays with the producer, but I don't know of any rules that would prevent you (or the producer) from also giving the director a copy.

We have another thread on a similar topic that you may want to look at: 
http://smnetwork.org/forum/index.php/topic,987.0.html

230

Stage Management: Plays & Musicals / Re: Calling Spot Light Cues

« on: Nov 11, 2006, 11:13 am »

I haven’t had the pleasure of SMing a show with Spots, but I have run Spot a couple times.  On the most recent occasion, I had a Q sheet listing who/what I needed to pick-up, how large the p/u should be (head & shoulders, waist up, full body, face), gel color, where the person would move to if the sequence was fast or complicated, and what Light Q would bring my spot up, and out.  The SM would call “Stby Spot,” but did not give a Spot Go or Spot Out, since I’d know when that happened based on my Q sheet (and I didn’t control when the Spot came on; it was linked into the light board, so I just had to be positioned correctly when it came on). 

I don’t know how feasible this is in a non-academic setting, but in college I worked a show with four follow Spots, so we were on a separate headset channel, and had a Lead Follow Spot Op.  The Lead had a script with notes and gave us Standbys that included target, size, color, etc.  The SM basically didn’t talk to us, though he could switch over to our channel if he needed to.

Both methods worked pretty well.

231

The Hardline / Re: Another question on joining AEA

« on: Nov 10, 2006, 10:16 am »

You might also be able to defer your membership to the union for one show.  Under the Taft-Hartley act (also known as the Labor-Management Relations Act), a person may defer membership to a union for a specific trial period.  In the case of AEA, it's one production. 

Wow, I hadn’t heard of that before.  Is this where The Myth of the Pre-existing Contract comes from? 

(That’s what I call the rumor I’ve heard that you can join AEA, do your first show as an AEA member, then do a non-equity show as SM, as long as you signed a contract to do that non-eq show before you signed the contract to do your first AEA show.) 

When I first joined equity, I was under the impression that this was OK, but have wondered about it since then, and not yet been able to find the rule or loophole that would support it.  Anyone else have insight into this?

232

Students and Novice Stage Managers / Re: 8 rehearsals 'til tech week and i can't sleep

« on: Nov 06, 2006, 12:31 pm »

You can’t take care of a show unless you take care of yourself, first.  You mention going to bed with a pen and paper nearby.  I’d suggest that before you even attempt to go to sleep, you spend some time out of bed with that pen and paper, and clear your head by jotting down all of your notes, questions, and worries.  Then put the paper aside, and do something non-theater related for a while (read a book, watch bad reality TV, call a friend who loves chemistry).  Then try hitting the hay.  In the morning, you can look at your notes again, prioritize, and be sure to delegate anything you don’t absolutely need to do yourself.

It sounds like you’re doing all you can to prepare, so be proud of yourself for that, and try to keep this experience in perspective.  Your first show doesn’t have to be perfect, it just needs to be your best effort…and hopefully FUN, since SMing is far too much work if you don’t enjoy it.  Remind yourself that when something goes wrong, it won’t be the end of the world; you’ll learn from your mistakes, correct the problems, and the show will go on. 

Break a nail!

233

Employment / Re: SMs in other roles

« on: Nov 03, 2006, 11:10 am »

Yes, I think one of the big union/non-union differences is that there are many additional tasks you can’t be required to take on while an SM.  Less staff=more crossover is a factor, and lines do get blurrier with smaller budgets, but AEA means the lines are in fact there, and it’s up to every union member to walk them…or not.

In terms of helping to get SM work, I think knowledge of all aspects of theater is a definite benefit, particularly for non-union work, when most positions have a slash in the job title.  I’m very thankful to have held a variety of theater jobs, both during college and professionally.  Knowing the challenges other departments or positions have to deal with helps you help them.  As Smejs said, you’re better able to troubleshoot in an emergency if you know the language and have a basic grasp of what problems might arise. And I like knowing I’m not asking my crew to do something I haven’t done or wouldn’t do myself.   Also, when you’re starting out, you may be able to get board-op or overhire work at a theater where you wouldn’t be hired as an ASM or SM right away.  It gives you a way to get your foot in the door, and if you’re on run crew you get to see another SM in action and learn from them, too.  But as much as I appreciate my tech background, I’m a Stage Manager because that’s what I do best, and I’m happy to not have to also do jobs I’m less good at.

234

Stage Management: Plays & Musicals / Re: Stage Manager's Job During Performances

« on: Nov 03, 2006, 10:30 am »

Calling the show is usually one of the SM’s core functions.  If in this Community Theater “the SM basically becomes a runner once the show opens,” the producers really should have told you that when you were hired, since I don’t think it’s what someone applying for a stage management position would expect. 

Perhaps this group isn’t used to having an ASM backstage who can deal with the actors during the show, or have had bad experiences with SMs who called show badly.  Maybe they’re worried about hearing your calls, since you’re so close to the audience. 

In any case, try to set up a meeting with the producer and director outside of  rehearsal (don’t just spring this on them in a coffee break).  Explain to them that you took this job with the expectation that you would be calling the show, spell out the reasons you want to do it (you’ve seen it more than the board ops, you have a competent crew backstage), and find out what their specific concerns are with that scenario.  You may be able to convince them with something about this being how a professional company would be run, and that their troop is ready to move to the next level in this regard.

235

The Hardline / SM "Present" at Rehearsals

« on: Oct 27, 2006, 01:24 pm »

The thread about Dialect Rehearsals brought this to mind…there is a rule in the SPT book (54-J-1) saying the Equity SM or ASM shall be “present” at all rehearsals.  I’ve always read that as meaning (when I don’t have an Equity ASM) that I must be in the same room as the actors while the are rehearsing, and should only leave when we all take a break. 

Am I interpreting this too narrowly?  Could being “present” mean I’m down the hall in the copy room during rehearsal? 

(Whether an SM should be out of the room during rehearsal is another question all together…I tend to think no, but being able to make said copies occasionally could come in handy!).

236

Employment / Re: Day Jobs? Yes or No

« on: Oct 25, 2006, 04:33 pm »

It’s not necessarily hard to get work as an SM if you have a day job, but it will probably limit the shows you can take.  Many non-equity shows I’ve come across rehearse nights and weekends, because the actors also have day jobs, so in that situation it could work out fine.  That’s the case with some smaller budget Equity shows, too.  You should just be very clear about your scheduling needs when you’re hired.   

It gets much harder with larger contract shows.  Those normally need the SM to be conflict-free, since there are so many other schedules to juggle.  And if you are in the rehearsal room more than 35 hours per week, it doesn’t leave much time to do the necessary show paperwork outside of those hours, and also work at another job, without stretching yourself far too thin to be doing justice to either job.

I agree with Matthew that it’s a question of priorities.  If you can be content in a steady job that allows you to SM on the side, and you find that the SM gigs you can get which fit your other work schedule make you happy, then there is your answer.  But if you intend for Stage Management to be your bread-and-butter, then you need the SM jobs that pay you a higher salary, and those positions require a full time commitment; you’d only be able to take additional work if it fits around your show schedule.   

237

Students and Novice Stage Managers / Re: I'm looking for advice

« on: Oct 25, 2006, 04:04 pm »

Try not to take things personally.  Even in professional theater, you come across plenty of actors, designers, directors, and other production types who always see the glass as half-empty, are more self centered than team oriented, and seem unable to read a schedule and show up on time. 

While you can’t change other people’s behavior or attitudes (especially when they’re teachers or your fellow students), you can control your outlook and reactions.  Keep striving to stay cool when everyone is annoying you. Answering the same question 17 times kind of comes with the job of SMing.  I try to remember that it’s just like a show; you’ve seen it a dozen times, but it’s new to the audience (the question is new to each actor).

A couple other ideas:
-You mention sending emails.  You may want to get some feedback or ask an objective person about whether your emails are as clear and idiot-proof as they can be.  In addition to saying when and where rehearsal will be, you may want have a list with everyone’s name and what their call time is (even if the entire cast is called at the same time).  If you make yourself a template for this, and make a habit of sending it the night before every rehearsal, it can be pretty easily done.     
-If you haven’t done so already, you may want to make yourself a conflict calendar.  Go through all your notes, and put together a calendar that shows you at a glance when Lisa has a dentist appointment, when the stage is unavailable due to building maintenance, when the music director must meet with so-and-so, so you can’t have them in rehearsal then…whatever.  Then tell the actors and production team that if their conflict is not on your calendar, it will not be honored.
-For the folks with smaller parts, can they be outside of the rehearsal room, but still nearby, when they are not actively participating in the rehearsal?  Yes, you may have to pause to get them into places for their part of the show, but it would mean less boredom for them, and fewer sources of distraction for you and the actors who are working.

238

Employment / Re: Part-Time Work

« on: Oct 06, 2006, 10:19 pm »

Try applying with a Temp agency.  I love temping.  It’s flexible.  It’s easy to the point of brain freeze.  You leave the job at the office.  If you get sick of the job, there’s always another assignment.  You can quietly laugh at how mundane Office Life is, and be that much more thankful that your real job is in Theater.  Plus, the employeers will most likely love you for being prompt, efficient, courteous, and not running away during your lunch break or subscribing to magazines on behalf of their company.  Really….I’ve heard some weird stories at some of the places I’ve worked! 

I don’t know how good the larger staffing agencies are, but I use a smaller, local one, and at this point I just call when I want to get back into the rotation, telling them the time-frame I’m available for.   

239

Stage Management: Plays & Musicals / Re: Actor Calls

« on: Oct 06, 2006, 09:33 pm »

I generally give calls that are “Till The Top of The Show,” at 15, 10, and 5 minutes.  Then it gets fun. You have to be ready to adjust your calls to suit the show, at least if starting on time is a priority; sometimes you have actors who always need to pee at Places, no matter how early you call it.  One theater I work at insists on having a “Three Minutes and Places,” call, and I’ve found that’s often a pretty good timeline for getting actors where they need to be.  Before I make the Places call, I confirm with House Management that they don’t need to hold.  (If HM tells me earlier that they will need to hold, I’ll adjust my calls to match the estimated start time).  If all goes well, the crew will let me know they have places just before I give a “1 minute” call, over headset only, and they’ll relay that to actors in the wings.  I don't usually call crew to headset, but I have at least one person backstage get on whenever I head up to the booth.

240

Stage Management: Plays & Musicals / Re: Handing over a show

« on: Oct 06, 2006, 08:50 pm »

I’ve taken-over several shows, one during Previews, so I can relate to how trickily it is to transition SMs on a show before Opening.   I also had to hand a show over to a take-over when it extended and I had to go to another show.  I feel like taking-over as an SM is similar to being an understudy.  Yes, different people have different styles, but since you originated the role, so to speak, of SM for the production, I think it’s the take-over’s job to adapt to the style and tone you already set, and follow what you’ve been doing as closely as possible.  Making the changeover go smoothly for the actors and crew is more important than “establishing authority” over the production.  If it ain’t broke, don’t fix it.    When I do a take-over, I follow the original SMs lead, and expect them to give me their insights and critique my calling.   There are a couple things I’d suggest for a smooth transition…
-Include the take-over on rehearsal/performance reports if possible.  It gives them a sense of what issues there with the play, and what the main topics of discussion or rehearsal room work have been.
-Get them the script, contact sheet, schedule, run sheets, and any other useful paperwork, ahead of time, so they have a chance to review your formatting, get to know the show, and can follow along on in their own book rather than trying to peer over your shoulder. 
-Talk with the take-over, and the producer as needed, before the new SM comes on board.  Try to develop a plan for when they will just be watching the show, when they will shadow you, when you will shadow them, when you will call in-tandem if that’s an option, and when they can call on their own with you giving notes.  Is it possible your take-over was ornery because she had different expectations for the logistics of the transition?
-It’s good to prepare the actors and crew for the fact that a new SM will be starting, letting them know the generally time-line for the take-over (though not necessarily which performance they will be calling).  Even if you introduce the new SM to the company as a whole, it’s nice to introduce them individually as well, during the course of the day, so the new SM can see who-is-who up close, and the company can put a face to the disembodied voice over the god mic.