256
The Hardline / Re: Another Fitting Question
« on: Feb 02, 2007, 12:16 pm »
We're on an SPT 6, so our hours are only 6-11PM with no leeway because of the rest of the week's schedule.
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257
The Hardline / Re: Another Fitting Question
« on: Feb 01, 2007, 06:01 pm »
Do you rehearse during the day on weekends? would a weekend fitting work out?
We start at 6 Mon-Thursday, with Friday off. Sat-Sun is 10AM/11AM-6/7PM.
The problem happens when we have an out of town designer who is not around on the weekend. I've only have it happen with one show, and the actor agreed to it because it was for a photo shoot that day, plus he was and out of towner and housed next door to the shop so he just stopped in on his way to the gym. That was at his suggestion (after I had told the designer no, so it worked out).
I actually don't have the "this is how we did it" problem, but rather a number of our actors also work administratively, so they will sneak into a 2PM fitting.
258
The Hardline / Another Fitting Question
« on: Jan 31, 2007, 05:58 pm »
What do you normally do when you are an evening rehearsal (we always rehearse 6-11PM) but the designer wants to do a 10AM or afternoon fitting?
The only thing I can find is about the maximum hours for fittings and that they must me consecutive to or during the rehearsal.
Normally I approach the actor privately and explain that this is when the designer has asked for the fitting, it will give them the maximum amount of time afterwards to work on the costume, etc and would they be amenable to that?
I've only had it be an issue one, and that was because of the actor's day job, but technically it is a violation.
The only thing I can find is about the maximum hours for fittings and that they must me consecutive to or during the rehearsal.
Normally I approach the actor privately and explain that this is when the designer has asked for the fitting, it will give them the maximum amount of time afterwards to work on the costume, etc and would they be amenable to that?
I've only had it be an issue one, and that was because of the actor's day job, but technically it is a violation.
259
Stage Management: Plays & Musicals / Re: Runsheets
« on: Jan 23, 2007, 03:27 pm »
This is a run sheet for a show where I was alone backstage, but ver busy.
They didn't fit together is one post.
Hope they help!
They didn't fit together is one post.
Hope they help!
260
Stage Management: Plays & Musicals / Re: Runsheets
« on: Jan 23, 2007, 03:26 pm »
This is a run sheet for a show that had actors, crew and myself (as ASM) doing scene shifts.
To get it to where it is what I do is create a master sheet, such as this one, without crew assignments and then based on actor tracking, quick changes (if there is no assigned dresser),etc, begin to assign crew as soon as I know how many I will have. For this show I was lucky, and I knew about 3 weeks before tech. This wasn't a tech heavy show, but backstage storage was an issue, so it was good to be able to plan slowly.
During tech, I hand out the preliminary sheets to my crew, set up my computer and printer backstage, and ask that they make any notes on their sheets in red pen. Sheets are then handed back to me at the end of the day and I update them for the next. If there is a lot of downtime, if we're held for lights or sound, or whatever, I'll grab a crew or two and start to update. I am constantly checking in to make sure that the information I have given out is still correct, that there are no questions, etc. By our final dress I have finalized run sheets that I can keep as a master or separate for individuals.
I have to say that my greatest run sheet moment was this past summer, as a wardrobe supervisor, I created entirely accurate dressing sheets for My Fair Lady having only seen 1 run in the rehearsal room. This show was hell for everyone involved and there was some serious discussion about not having it audience ready for our first preview. I was so terrified that we would crash during the dress because of me, but somehow every single change was right. (That's not to say we actually made all of the changes in time...but a dresser was there a costume each time there was a change.) I am still baffled as to how I pulled this off.
So there you have it, my run sheets, and they've served me well.
To get it to where it is what I do is create a master sheet, such as this one, without crew assignments and then based on actor tracking, quick changes (if there is no assigned dresser),etc, begin to assign crew as soon as I know how many I will have. For this show I was lucky, and I knew about 3 weeks before tech. This wasn't a tech heavy show, but backstage storage was an issue, so it was good to be able to plan slowly.
During tech, I hand out the preliminary sheets to my crew, set up my computer and printer backstage, and ask that they make any notes on their sheets in red pen. Sheets are then handed back to me at the end of the day and I update them for the next. If there is a lot of downtime, if we're held for lights or sound, or whatever, I'll grab a crew or two and start to update. I am constantly checking in to make sure that the information I have given out is still correct, that there are no questions, etc. By our final dress I have finalized run sheets that I can keep as a master or separate for individuals.
I have to say that my greatest run sheet moment was this past summer, as a wardrobe supervisor, I created entirely accurate dressing sheets for My Fair Lady having only seen 1 run in the rehearsal room. This show was hell for everyone involved and there was some serious discussion about not having it audience ready for our first preview. I was so terrified that we would crash during the dress because of me, but somehow every single change was right. (That's not to say we actually made all of the changes in time...but a dresser was there a costume each time there was a change.) I am still baffled as to how I pulled this off.
So there you have it, my run sheets, and they've served me well.
261
Stage Management: Plays & Musicals / Re: First and Last Names
« on: Jan 23, 2007, 12:03 am »
I always use just last names on calls sheets and the like, and if there are two I'll put the first initial. It's quick, precise and not too formal or informal in my opinion. Sign-ins I do full names.
Whenever I see a sheet that says Mr. Smith I just sort of think it's a little impersonal and a bit pretentious. That's not the kind of rehearsal room I run. (But that's only my opinion, and not meant to belittle others!!!)
For dressing rooms I always do Bob Smith in a very readable font, usually the same one that I've chosen as the show font on my paperwork. I'll put a simple border around it or for a smaller cast, even back it with a theme color (such as blues with a 'wavey' trim for a show about the ocean).
I've never had a complaint about the level of or lack of formality to my paperwork or dressing rooms, etc. I have been complimented a number of times on how concise and accessable my paperwork is.
Whenever I see a sheet that says Mr. Smith I just sort of think it's a little impersonal and a bit pretentious. That's not the kind of rehearsal room I run. (But that's only my opinion, and not meant to belittle others!!!)
For dressing rooms I always do Bob Smith in a very readable font, usually the same one that I've chosen as the show font on my paperwork. I'll put a simple border around it or for a smaller cast, even back it with a theme color (such as blues with a 'wavey' trim for a show about the ocean).
I've never had a complaint about the level of or lack of formality to my paperwork or dressing rooms, etc. I have been complimented a number of times on how concise and accessable my paperwork is.
262
Stage Management: Plays & Musicals / Re: Response to "calling a show by feel" from "things you would never hear..."
« on: Jan 18, 2007, 02:39 am »I always call by feel...
I do too! Granted, there are some moments where counting is needed, IE: count 8 measures in 2 before bringing up the curtain call light, but about 80% of what I call is by feel, currently the rest of my show relies on sound and lights being called very specific to blocking. I think a big part of calling a good show is feeling the moment and making the cues respond to that. It's definitely it's own art form.
On a sidenote- BalletPSM, I worked on a play with Stephen about 4 years ago, it was wonderful, he was wonderful! He's a great guy!
263
Tools of the Trade / Re: Creating a prompt book in word...using comments for cues
« on: Jan 17, 2007, 12:20 am »A sample page from a prompt copy.
This is in progress, and currently only shows LX cues.
Enjoy
Hey Jempage- do you do this in Acrobat or do you just upload it that way? Do you have a Word version I could play around with?
Thanks!
264
SMNetwork Archives / Re: Digging Out in Denver
« on: Jan 10, 2007, 03:57 pm »
Seems winter has arrived in Ohio. It's currently 26 here (-3 C for our cold loving friend Canuck). Now bring on the snow!!!
265
SMNetwork Archives / Re: Digging Out in Denver
« on: Jan 09, 2007, 03:31 pm »
It's beyond me, but I remember being in Ohio in January wading through hip-deep snow to get to college!
Yes, well today is the 2nd day basically this winter that it's below 60 degrees. I never realised how disconcerting an overly warm winter could be until it was 35 again yesterday.
266
Stage Management: Plays & Musicals / Re: Who runs your production meetings?
« on: Jan 09, 2007, 03:28 pm »
I guess we sort of run them that way too. I have my own list of questions, but start each meeting with something like, "Let's begin with sets" then we have a progress report for sets, and segue into questions for sets, starting with the director and myself, and then go around the table. We do the same for each element we have. Usually there are only 6 or 7 in my meeting as well.
I feel like the meetings are going fine, there are never any huge suprises and everything is always addressed, I just can't help but think they want more from me.
I feel like the meetings are going fine, there are never any huge suprises and everything is always addressed, I just can't help but think they want more from me.
267
Employment / Re: Serving on a Board of Directors and Stage Managing for the Same Company?
« on: Jan 08, 2007, 10:50 pm »
The LORT that I left last spring required a company member to be present at all meetings. For 2 years this has been one of the PSMs and he hasn't had a problem.
He's not allowed in executive session (ie anything involving money) but he's there as an advocate for the artistic company. I personally felt that having him in the loop made me much more involved in the everyday operations of the theatre because I found out about administrative operations in a professional manner, not through gossip.
He's not allowed in executive session (ie anything involving money) but he's there as an advocate for the artistic company. I personally felt that having him in the loop made me much more involved in the everyday operations of the theatre because I found out about administrative operations in a professional manner, not through gossip.
268
Employment / Re: Showcase and Managers...
« on: Jan 08, 2007, 02:17 am »
If you have questions about any of the Philly area theatres, let me know! I was born and raised and worked there as well.
269
Stage Management: Plays & Musicals / Re: Who runs your production meetings?
« on: Jan 08, 2007, 02:14 am »I have almost always ran my production meetings. Occasionally I've had a production manager run them, but most places I have been, there wasn't a production manager and the TD was very focused on the build and not the overall production. I always go though my rehearsal reports before the production meeting so I know everything will be covered that needs to be. I also like to start with the director or anyone who really wants to talk first.
Hope this helps.
Candy
It's not that I don't know how to run a production meeting, I was just shocked to have the entire table turn to me and wait for me to speak. After I got over that, I was suprised the issues weren't being followed up by the people who brought them up as problems in the first place.
It's a strange dynamic we have here.
270
SMNetwork Archives / Re: Digging Out in Denver
« on: Jan 07, 2007, 07:12 pm »For the Israeli traveler - at least they gave you the things that they couldn't get back into your bag! I flew out of Philly soon after 9-11, when they had the 'search all bags' thing going but didn't have the luggage xray machines yet. I was at the end of a tour, with a stuffed bag from things that I had picked up. They couldn't get everything back into my bag and my options were to basically stay in the airport for the rest of my natural life. I couldn't repack the bag myself, I couldn't leave security to buy another bag, I couldn't get on my flight and I couldn't leave the airport. We just sort of stood there staring at each other until I thought to ask if I could carry my fall coat onto the airplane as a carry-on. With the coat gone, they were able to get the bag zipped and I was fine - but I really don't know what would have happened if I couldn't have done that.
That's my city!!! That patented Philly "Blink Blink Response" takes years to master!!