Messages

256

Students and Novice Stage Managers / Need to convince my father that this is a good career.

« on: Jan 05, 2006, 07:50 pm »

Give him concrete examples of people who are making a living in theatre.

Do some research on alumni of the theatre program at your school - where are they now?  Did they make it in their chosen profression?  And by make it, I don't mean they're all on Broadway or international tours -- I mean, are they working in theatre?  You don't want to use extreme examples, you want to give him names of your real average joes who are making a living as theatre practitioners.

And most importantly...you have to show him you can do it.  Get out there, get working, and show him it's possible.  If you have community theatre in town that will pay you to SM, get involved (as much as your school schedule and shows there will allow you).  Don't just get through school and then get started on your career...start NOW.

It can be done!  You can make a living in the theatre -- yeah, it won't be a doctor's income...but you'll be able to pay your rent, pay your bills, eat, and even have a little fun now and then.    Good luck!

257

SMNetwork Archives / The Holiday Season -- what are you working on?

« on: Dec 21, 2005, 02:03 am »

I am now on THE LAST PAGE of my Nutcracker production schedule!  The end is in sight....

So far no big disasters...during our final dress rehearsal one of the big mice (played by a professional) got clotheslined with a drop going out during the Transformation scene.  (now, please know that the drop had gone out AT THE SAME TIME every single night...its not like that particular night it went out sooner than it had been going out).  We all thought that he wasn't going to get up -- I mean, literally, bottom pipe caught under the chin, feet flipped up over his head, landed on his back...it was bad (but at the same time, a classic!)

After I made sure he was okay when he came off stage, he said, "well, I guess I know not to be there at that time anymore...learned my lesson on that one!"

Hmmm...Clara hasn't thrown a pointe shoe into the pit yet (when she throws her shoe at the mouse king).  Usually that happens at least once a Nutcracker!

258

SMNetwork Archives / How does one deal with being a stage manager and a friend?

« on: Dec 21, 2005, 01:52 am »

Eesh...yes, somewhat awkward and difficult.

I agree with hbelden; you have to deal with these things as a stage manager first.  Last year I worked on a show where pretty much all of the cast and I and the director were friends (small ensemble show of only 6 actors); but one actor and the director in particular were particularly good friends -- one day in rehearsal she gave him some constructive criticism on a beat, and on break he took my outside and said that he felt really attacked by her comment and that it was out of line and unfair of her, and could I please talk to her about it?  I said no -- she's the director, she's directing you, and if you don't agree with what she's saying, then bring it up in rehearsal and discuss it actively and constructively.  I reassured him that nothing she said was directed as a personal attack and also reassured him that if a director ever did make a personal attack on an actor, then I would talk with them about it.  He was mad at me for the rest of the rehearsal day, but the next day when he had calmed down, called to tell me that he was thankful I took the "bitchy SM stand" rather than the "friendly oh-its-okay-side."  

What was the extent of the "rudeness"?  Was it personal comments, or was it just crude remarks in general that the cast member took offense at?  I agree with hbelden; you can't take sides -- you have be the neutral presence and do whatever is possible to diffuse the situation.

I don't think you were wrong in telling her honestly what it would mean and how people would perceive things if she quit, and of course she is hurting because you dealt with her as the stage manager of the show rather than as an objective friend -- but the thing is, in this case, you're not an objective friend; and anything pertaining to the show you have to deal with as the stage manager -- even if its at midnight or the wee hours of the morning.

259

SMNetwork Archives / The Holiday Season -- what are you working on?

« on: Dec 05, 2005, 07:01 am »

Who's working on a holiday production right now?  What are you working on?   Every theatre has its Christmas Carol, Nutcracker, Scrooge (insert clever holiday production here).  

For me -- its (what else?) "The Nutcracker." I'm (literally) about to go to the theatre for load in today...and then its a solid month of performances!  

And doesn't it always seem for some reason that holiday productions have more disasters and horror stories than any other time of year?  Let's take this opportunity to unite and share memories of holiday productions past...stories of holiday productions present...and hopes for holiday productions future. =)

260

Stage Management: Plays & Musicals / Silent Cueing?

« on: Nov 02, 2005, 04:18 pm »

A couple options I can think of right off the bat:

1)  Cue lights (a light switch hooked up to a string of rope light or a single light bulb. Your ME should be able to do this).  You can do these for all deck and rail Qs (although since its a small theatre maybe there is no rail?)

2) If the person -- e.g., light board op or sound board op is right next to you, use your arm -- arm up means stand by; when you bring it down is the GO

Good luck!

261

Stage Management: Plays & Musicals / Your book Left or right?

« on: Oct 31, 2005, 09:04 pm »

Wow, this is an interesting discussion!  I get so stuck in my own way (as I'm sure everyone else does) that it seems like there's  no other way to do it but that, and I forget that there's a million other ways that people do things!

For me, text/music on the right and my notes on the left...can't really explain it, because after reading these responses, it seems like it would make more sense to do it another way (like the cue light comment...every time I flip a Q light I am thinking that it is really annoying that my arm is covering up half my score...)

But...what works for me now is what works and probably won't ever change.  =)

Old habits...or something like that. =)

262

Stage Management: Plays & Musicals / It's Half-Hour: Do you know where your SM is?

« on: Oct 31, 2005, 08:53 pm »

Eek!  What are producers doing in the theatre?? =)  Just kidding.

I like to give calls in person -- make sure people heard them; be there for any last minute "oh my god I can't go on stage tonight help me please work through this issue" etc.  

But then again, I pretty much always call from backstage and not the booth...and when I do have to call from a booth, I go up there prior to half hour to set my script or score out, arrange everything and get into the SM mode, then go backstage and don't go back to the booth until after the places call and a last minute bathroom run.

Good luck with this!  Its very important that the SM, who's running the show, is comfortable and confident with how the show is run!

263

SMNetwork Archives / Ballet ASM question

« on: Oct 31, 2005, 08:47 pm »

I have taken my theatre training as an SM and applied it to my job at the ballet company  -- I attend as many rehearsals as I can, take notes on times as the choreographer works (so he doesn't have to search through the CD to find the right place, and then start in the wrong place, thus wasting rehearsal time, etc.)  Often he has told me that although he knows its time consuming, rehearsals are so much more efficient that way.  while I don't take detailed choreography notes (worhtless; that's what video is for now!)  I do take notes about entrances and exits, significant moments in the choreography (like a big lift, for instance).  I actually find it easier to call a ballet than a play -- you know (for the most part) that it will always be the same.  The music won't change; there's no forgetting lines, no pregnant pauses, no times when actor decides that they're going to ad lib...its always consistent (although there are the times when dancers decide they don't want to exit just yet, and you call a spot out cue when its always been called, only to see the dancer still peeking out of the wing and out of light!)

Yes, ballet is an entity unto itself, but in many ways more similar to theatre than one would think. (or at least, I make it so because as my director says, its much more efficient that way!)  I know the show better, the director knows they can trust me, everybody is happier.  

ASMing for a ballet involves more aid to the SM than in theatre.  In theatre, often the ASM is put in charge of one area (props, the crew, wardrobe, etc.) and works somewhat independently of the SM.  I rely on my ASMs for ballets to tell me when dancers are clear from the stage so I can bring up the next light cue or bring out the grand for bows, or let me know if a dancer is still under a piece so I don't bring it in too early.  They don't have to read music, but they absolutely must have some knowledge of ballet and music terminology -- so when I tell them to inform the dancers we're taking it from such and such a place, they have some idea of what I'm talking about.  Sometimes I rely on my ASMs to give dancers cues -- for example, if I have to take a cue off of their entrance, I have my asm cue them so I know when they're entering.  

The ASM patrols the other side of stage -- so if I'm calling from stage right, the ASM is stage left making sure everything is running smoothly.  If a dancer gets injured, they make the run to find an ice pack or an EMT if necessary.  

My ASMs only work production week - I have them come and see at least one run throug prior to getting in the theatre so they know what's going on, but they don't need to know the show as well as an ASM for  a play or musical.  Esp. if you're working in a union house where you don't have to be in charge of the crew.  

Jenk -- pm me if you want to know more...I'd be happy to answer further questions!

264

Stage Management: Plays & Musicals / Great ASM

« on: Oct 20, 2005, 08:52 am »

I look for ASMs who I know will be able work with union stagehands.  =)  Are they smart?  Willing to learn?  Willing to take directions and instructions from my TD or lighting designer?  Can they take initiative and take charge if they find themselves standing around with empty or idle hands?  Do they have a sense of humor?

Obviously the whole union thing doesn't apply to you, Emmy, but I think those are good qualities to look for in an ASM.  If you're lucky you will find someone that you like to work with and will be able to work with them again and again.

Incidentally, my boyfriend was the best ASM I ever had (he's a sound guy) -- he did one show for me as a favor at the last minute, and he was great!  I was worried about the entire weekend -- thought we would end up in some huge fight and I would have to kick him out of the theatre, but I didn't, and now I'm bummed he's on tour because I want him to do more work for me!

265

SMNetwork Archives / kit

« on: Oct 12, 2005, 09:39 pm »

My grandma bought me these pencils a few years ago that were day-glo pink, green, orange, and yellow, with my name on them.  (I have a VERY unusual first name, and she had my first and last name on there)

At first I thought they were really dorky, and they just sat in a drawer for the first couple years, but after I SMed my first show and realize that the one thing actors ALWAYS asked for was a pencil, I pulled them out, sharpened them all, and then kept them in one of the huge altoid containers for my next show.

A few days after the first rehearsal on my that show I saw one of my actors at the library with a day-glo pink pencil...and realized it was mine!  It was only then I realized the true value of these pencils -- now I know when people steal them!

They have since become a staple in my kit and people in my shows know them as my pencils (including the box that has a piece of gaff tape with "not altoids" written in big letters across it) always ask if they can use those pencils (they don't want the regular wood grain #2s that I supplemented the pencil box with).  I have NO IDEA where my grandma got them from but they're now on my christmas list this year because I'm finally starting to run out, erasers have worn down, etc.  

Other staples of my kit include a deck of cards, post its of all shapes and sizes and colors, various cables (cat5, USB cables, RCAs) an extension cord, rosin and lambswool (I work with dancers), those little oral-b brush ups, a lighter, rolls of spike tape in various colors, different types of pain meds (for people allergic to one kind or the other), tampons, cough drops, and a three-prong to two-prong adaptor -- just in case I go somewhere that only has two prong outlets and my computer is a three prong. =).

Also:  saline solution and a contact case.  I can't tell you how many times I've had actors whose contacts start bothering them in the middle of rehearsal and they are so thankful I have that so they can take their contacts out.  Just make sure to rinse and disinfect after someone uses it!

Sometimes I just throw some random things in there (like an old knick knack) so when someone's looking through it for something they'll pull it out and we'll have a good laugh over it.  =)

I always think of my kit as an ongoing process -- something I'm always working on.  Always finding new items to add to it.  These posts have all been great!

266

SMNetwork Archives / MIT SM Manual gone?

« on: Oct 10, 2005, 05:48 pm »

I DO have this manual; I will be happy to post it somewhere if someone can tell me where and how, or I can email it to anybody.  PM me or email me.

267

Stage Management: Plays & Musicals / Scary Directors

« on: Oct 08, 2005, 04:45 pm »

You have the opportunity to work with Anne Bogart?  DO IT.  I do not know her and have never worked with her but I have read her books and we studied her techniques in college -- she sounds fascinating and truly creative.

268

SMNetwork Archives / MIT SM Manual gone?

« on: Oct 08, 2005, 04:39 pm »

YES

I believe that I have this on my computer at work.  When I get to the office on Monday I can see if I have it...and then someone will have to help me figure out a way to post it somewhere, or I could email it, or something....if anyone has any ideas.

269

Stage Management: Plays & Musicals / Scripts on cardstock?

« on: Oct 08, 2005, 04:28 pm »

My bibles get heavy and thick enough as it is!  I don't think I could deal with having to an entire script or score on cardstock.

I do sometimes put clear plastic protectors around pages that get lots of use -- for example, if there's a series of pages that the music is really fast I will put the plastic protectors on so I don't rip the page out as I turn it.

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Stage Management: Plays & Musicals / Prop dilemma

« on: Oct 08, 2005, 04:24 pm »

How many theatres in this country have done some version of a Christmas Carol?  Probably 90%.  I'm sure you could rent one for pretty cheap from somewhere.

Where in the US are you?  I know there are theatres here that would probably be willing to rent one to you -- unless you're planning to do this show again at some point down the line, at which point it would be more cost effective to have one made somewhere.   (see the above response -- good ideas there)