Messages

271

Students and Novice Stage Managers / Re: Giving line notes - a real novice question

« on: Jul 05, 2006, 03:53 pm »

I always give line notes in hard copy so the actor can go home and study them (though I wonder sometimes if my paperwork goes right into their kitchen trashcan...). It also gives you a sense of which lines they are consistently missing, and which actors are missing the most lines consistently. If an actor is so weak with his/her lines that the director/producer ever needs to take up the issue with them, your line notes can be proof of error (again, provided they're not rotting under yesterday's coffee grounds). I just hand the pages to the actors before they leave rehearsal/performance. I don't go over them individually, and I don't make comment (except occasional praise - "You only have one tiny line note today, Jeff!" or something harmless like that). But I do always put the line note sheet in their hand personally. I don't ask ASMs to do it, and I don't leave the sheet at their dressing table. That way, I can guarantee that the sheet went from my hand to the actor's hand. If they don't know the line at the next rehearsal, I know I did everything I could.

272

Stage Management: Other / Re: Opera tips

« on: Jul 05, 2006, 03:45 pm »

I am fluent in English and Spanish, and have basic conversational skills in French and Italian. I know a touch of German and American Sign Language, have a strong background in Latin, and am trying to pick up a little Portugese and Japanese. Languages are my thing - I love them, and have studied foreign languages since I was about five. I know plenty of SMs who work in opera with no background in foreign languages. Of course, being able to pronounce opera names and arias properly does identify you as a thorough professional.

There is this great set of books by Nico Castel from the Met that gives the operatic pronunciation of most major operas. They're called the Castel Libretti Diction Guides, and are categorized by composers, mostly. These books are in the reference library of most mid-to-large opera companies, or at university libraries. These are great because they settle once and for all how a *singer* (not a speaker) should pronounce a word as the composer intended, and to maximize vocal qualities. Have you ever worked a Thais with a French-Canadian director and a French soprano? Yeah - You'll need these books to settle the hourly debates.

I totally agree with you - reading music is essential! Besides that, just a working knowledge of stagecraft - typical SM jack-of-all-trades stuff. I can whipstitch a hem, I can repair a loose music stand, I can lead vocal warm-ups on the piano, I can write light cues, etc etc. The more well-rounded you are, the better solutions you can recommend in a production emergency.

273

Students and Novice Stage Managers / Re: prompt books

« on: Jul 05, 2006, 11:18 am »

Mine usually become the property of the theatre - it's part of my contract with them.
I do have some around the house, peppered throughout the bookshelves. They are useful for the occasional document format or old contact info.

274

College and Graduate Studies / Re: Summer Festivals/Unpaid work

« on: Jul 05, 2006, 11:16 am »

Do you think it's a good diea to just send resumes to theatre companies? If so, what would the cover letter say?

Check out the Employment forum on this site! There are some existing threads there about your questions, or you could start a new discussion if you have a question that hasn't come up in any existing threads.

And absolutely do check out the SMA, as centaura recommends - they're great, and as a member you get lots of job postings, many of which are in NYC!

275

Stage Management: Plays & Musicals / Re: Question for all the SMs out there

« on: Jul 05, 2006, 11:04 am »

When I am with an IA crew, I usually never ask for confirmations. If I am with a student crew, I do ask for confirmations... it is very important for a good stage manager to pick their battles.

Hear, hear! Regarding the original topic - whether board ops can do other things in the booth: if they can do their job, I don't concern myself. Of course, they should never do anything noisy or disruptive. If they hit the button when I say GO, they're doing their job successfully. On the second topic - asking for standby confirmations: I never do with a professional crew; I think it's insulting and amateurish to demand verbal confirms from IA folks. They do this for a living, day-in/day-out, and I have no reason to question their abilities. Unless they miss a cue! Then I ask for a confirmation every single time. With non-professionals, it's different, and it depends on whom I'm working with. To echo DAE - I pick my battles. Creating a hostile environment in the booth does no good to anyone nor to the production. Flexibility is one of the very highest qualities an SM can have.

276

Stage Management: Other / Re: Opera tips

« on: Jul 05, 2006, 10:52 am »

Here are some actual tips:
-Get a recording of your opera. You might even ask the Maestro or Artistic Director for a recommended recording - they're very different, really
-Have plenty of lozenges available all the time. Ricola offers free bulk lozenges to opera companies - visit www.ricolausa.com
-Have plenty of water available all the time, even if you are filling up pitchers at the drinking fountain and offering them on the tech table with plastic cups
-Try to keep dust and dirt out of the working spaces. Shake out costumes/prop blankets before the singer encounters them; mist with a spray bottle full or water (add a drop of eucalyptus oil for extra astringency) to settle dust in the air. If singers see that you pay attention to this, they'll love you forever.
-Pay special attention to the accompanist - this is an extremely difficult and often thankless job. (Accompanists tend to be very smart and funny, and usually have all the good dirt!)
-Train your ASMs well, and try to check in on them less. You have plenty to do already - let them set the props tables, and you shouldn't have to check them at all unless an ASM has a history of forgetfulness. Tell them over headset that you've called places, and make it their responsibility to tell you if they are missing someone - often, you might not have time to call attendance over com (and I find it annoying, anyway).
-Anticipate rehearsal skirts and practice props. Women usually wear some sort of gorgeous skirt onstage in opera, and they are also often tossed about or passionately embraced. Get them in a skirt early in rehearsals so that everyone can get used to her movement (and limitations).
-Start your WWW before rehearsals even begin. Opera is fairly straightforward, so you know when Tosca will enter - Puccini wrote it in the score. You'll have some unanswered questions, but you will be able to make excellent headway, keeping you ahead of the game.
-I ask chorus folks to wear nametags in the rehearsal space, and I write their names on index cards that are color-coded by voice type. Directors love this! They can group all the soprani together easily - keeping the Maestro happy too.
-Know your opera lingo: tutti, sitz, wandel, apprenti, repetiteur, toi toi, etc. These Italian/German/French potpourri are standard terms in this field.
-Ask in early rehearsals whether your principals want their entrances cued or not. Some prefer this and will look for a cue every time; others hate it and will ignore you at best, or get annoyed with the cue at worst. So just ask what they want. And keep an eye on them just in case they flake-out one night.
...hm, that's all I can brainstorm for now...!

277

Stage Management: Other / Re: Opera tips

« on: Jul 05, 2006, 10:21 am »

Hooray for opera SMs!
You've mentioned what I (imho) consider the three most important opera-specific SM procedures:
1) Score tabs by aria/scene
2) 30" timings (sometimes I do use 15", it really just depends on my mood - either method gets you there) and
3) 5' and 2' places calls (I've had some theatre-only SMs look at me like I'm crazy when I tell them I have to call places for each and every entrance)

In my experience, the biggest factor when working with opera is the orchestra. Yes, you might go through 90% of your rehearsals without them, but once they're there, the rules of the game change in a big way, and you must be ready for it. You and the crew must have your act together so that you can execute that scene change in time with the music. Your singers must be on hand in an orch tech rehearsal so that you can skip ahead and jump right into the next chorus scene without taking 2-minutes to hunt down choristers. The clock is ticking when you're on orchestra time - and it's expensive. So the producer/gm/pm is usually in the house radiating stress and tension, and everyone prays that we don't go into overtime. Having a full awareness of the orchestra contract is essential (I usually ask for one at the beginning of any opera gig). You, as stage manager, are still responsible for calling breaks, taking intermission, and tracking the clock. So you must know if this orchestra plans to take two 15-minute breaks or one 20-minute (and call the rehearsal 10-minutes early). Does everyone realize that we're doing "Barber" and will need overtime at every rehearsal? Know your Maestro - is he good at watching the clock, or will he completely ignore you until you unplug all the stand lights (not recommended!)?

I enjoy the difference in protocol that opera brings, as well. I have always treated the art with a touch of formality, paging "Ladies and Gentlemen of the Chorus to places, please" and calling Principals "Mr. Smith" and "Ms. Doe" over calls and in reports. I enjoy the luxury (when we can get it!) of having a dresser accompany the principal with a robe/slippers/bottle of water, like a royal page. I get a kick out of that first chorus rehearsal where we take an extra five minutes to introduce the chorus to the principals, with a little patter of applause. For me, this is about demonstrating elegance and control in my craft. And opera is so totally involved, so complex (sometimes involving three or more unions and hundreds of production staff), that it can often seem insane or overwhelming. But to me it is the most fun and challenging art form to SM.
Looking forward to hearing more about this from other posters...

278

College and Graduate Studies / Re: Summer Festivals/Unpaid work

« on: Jul 01, 2006, 08:20 pm »

I totally agree with Centaura. And with Mac and Matthew about directing now if what you really want to do is direct.
Maybe I'm old and jaded (and on a less-than-great-but-not-terrible summer gig right now), but I have found that *most* summer festivals are so low-budget that they actually rely on the exploitation of their (non-union) labor. They expect you to provide your own copies/paperwork & spike tape & cell phone, etc etc. They expect carpenters to provide their own tools. They expect actors to provide their own costumes. They expect everyone to work extraordinary hours, and they expect you do just do all this for the love of it. This craziness can lead to lots of fun and social bonding, but here's my thing - This is now my job, my career, what I do each and every day. So I am no longer at a point where I can put up with those operations and still make a living. So I don't. Sometimes I have to fight for reimbursements and go into heavy negotiation about travel expenses, cell phone costs, hours per day, and all that. If you find yourself working for a company that is asking for too much, please set your own limits early and stick to them! You owe it to yourself.

Okay, with that negativity out of my system: some of the best summer gigs I've worked have been municipal concerts (great pay as a city employee!) and some of the larger summer opera festivals (these are hit-or-miss). It is possible to get a great summer gig as an SM. But, as Centaura noted, you'll probably have to dig for it. In the meantime, enjoy the amazing honeymoon that is the recent-graduate experience!

279

Students and Novice Stage Managers / Re: The Ultimate Decision

« on: Jul 01, 2006, 08:07 pm »

From what I understand, mine is a typical story...
I auditioned for the first show out of the hopper in college (Six Degrees of Separation). Didn't get the part, but the director called me that night and asked if I would SM. I had technically SM'd in high school (basically calling attendance at the beginning of rehearsals for us - I know some high schools are way more comprehensive), but it was really a first for me. I quickly found that it was a dream job - organizing, coordinating, communicating, and producing. I became one of the most popular SMs for all theatrical groups around campus and got a ton of experience under my belt. After graduating (BA in psychology), I SM'd for community theatres on the cheap while maintaining a day job (or two). Eventually, I worked my way up through the local troupes, eventually getting better and bigger gigs until I landed a great position as PM. I'm not in that position any more, and am exploring the wild and wonderful world of gigging. My SM career was a total accident, and every day I can't believe I'm lucky enough to do something that is truly fulfilling to me.

280

Stage Management: Other / Re: What's the most unusual job you've had?

« on: Jul 01, 2006, 07:59 pm »

As far as the job *should* have been, it was a standard one-off concert tour through my town. I was to jump on as SM after having watched an icky VHS (which didn't match the set list, btw) and chatting with the director and local LD for half an hour. We were to have a load-in and dry tech the day before and then an afternoon dress rehearsal before the evening show. But the load-in was cancelled! (They sort of threw everything onstage early the next morning, because the management team decided the load-in wasn't really such a big deal.) And then the kiddie talent show (running in tandem with this tour, with the same production staff) ran over, so we didn't have our full time for dress rehearsal. We stumbled through act I with a great deal of emphasis on choreography and very little attention to tech. We never rehearsed act II. Then, an hour and a half later, we plunged into it blind. With two followspots. It was absolutely nuts, so chaotic that at some point we all stopped freaking out and just held on for the ride. At one point, the ops told me over headset that they were absolutely amazed that I was able to successfully call a show I had never, ever seen (even in rehearsal). Not sure I'd do it again, but it sure was an experience!

281

Stage Management: Plays & Musicals / Re: Left or Right

« on: Jun 29, 2006, 06:13 pm »

I shrink the script/score so that it fits on the page with about 1.5" of white space around the outside edges of the page. But I don't take blocking in this space - I have mini half-page groundplans on the facing pages, and write the blocking notes in under the drawing. I am left handed, so the script/score goes on the right side of my binder, with the mini on the left. In the white space around the edges, I pencil-in notes and reminders. But I stick post-its (when I use them - I'm a dot user, personally) nearer to the binder rings and farther from the edges of the page. Post-its near the edges seem to get caught more easily on turning pages and fall out of my book.

282

Employment / Re: What to wear/bring to a SM interview or other tips

« on: Jun 28, 2006, 11:37 pm »

I echo nmno -
Bring a nice binder (I have a leather one, too, and carry it in my briefcase) with a notepad, pen, personal planner (in case they ask when you are available, etc), and extra resumes/references (always at least three). Sometimes I bring a copy of my cover letter to remind myself what I said. Bring a copy of the job posting if you can - this way you can be sure that the start/end/performance date(s) are consistent, that the salary is as advertised, and you can remind yourself of contact names. Also, bring a list of questions. Here are a few to include: what is the company policy/procedure on expense reimbursements? who will be your direct supervisor? who will be your running crew and assistants (be sure you're not alone!)? If it's an away gig - will you get housing & how will your transportation be arranged? I have occasionally (but rarely) had people ask me to bring a sample call book. I guess they just wanted to see that I was tidy and professional and not a complete mess.

You should look into companies before you work with them. This is true for a variety of reasons: You can learn in general what kind of company they are (elegant and polished, or experimental and low-budget), learn who works with them, and hopefully learn whether they are good at paying their employees well and on time. Plus, you'll look very savvy when you are familiar with the directors, designers, and performers who have worked with the company in the past. In addition, I like to know how the company heard of me (if they contacted me for the job) - this gives a good starting point for interviews.

I do take have a little more fun in my attire when interviewing for a theatrical job (as opposed to, say, a cubicle job). We are lucky to work in a creative field. So a bold piece of jewelry, or a little more color in your clothes, or funky shoes can be acceptable. But you must still be completely professional! Wacky hair color, tank tops, jeans, perfume, or backstage paint clothes are not appropriate. When in doubt, dress like a banker; It's better to be overdressed.

Gosh, I've gone on. Congratulations on your interview, Jennifer! Good luck!

283

Stage Management: Plays & Musicals / Re: Working with nudity

« on: Jun 28, 2006, 05:49 pm »

In my experiences with nudity onstage, I totally agree with most of what's been covered here -
1) Rehearsals with nudity are closed-sessions with essential personnel only
2) A robe and slippers are ready at all times (on both sides of the stage if necessary)
3) A solid schedule for running nudity in rech must be established. Crew needs to know when there will be nudity onstage - it can't be a surprise!
4) Everyone involved should be comfortable with the nudity (directors, actors, stage management, wardrobe)

One more tip - be very aware of the temperature of the theatre and air flow. Theatres are usually quite cold so that actors don't sweat under the lights. You might need a space heater as the actor awaits his/her entrance. Or you should at least be sure that they're not going to be standing near a drafty emergency exit door in February.

When discussing the nudity with the rest of the cast and crew, we made extra effort to remain businesslike and professional. The smallest snicker or lamest joke can seriously damage the safe environment you're trying to maintain. I also make extra effort to train my eyes on the performer's face when speaking with them - even if they're just in their robe (this is also true when visiting partially-nude performers in their dressing rooms). Even if your eye wanders innocently, it can seem weird or intimidating. Of course the performer will be sensitive to this. Looking them straight in the eye will make you seem confident and direct, too.

A final thought - even in the largest of theatres, I would avoid a body-stocking unless someone has a serious issue with nudity. It will never look right. Nudity raises the stakes. It's powerful and important (when done right). Using a body-stocking seems a childish way to shy away from the power of the artistic statement. But maybe the performer refuses to go nude; maybe the director has a hang-up and insists on a stocking; maybe the audience isn't ready for it (a valid but unfortunate call on the part of the Artistic Director). I would hope that all of these limitations could be avoided ahead of time. Before using a stocking, reconsider the nudity. It's a challenge - to the performer, production team, and especially the audience - that everyone must be ready to accept.

284

Employment / Re: Websites

« on: Jun 26, 2006, 10:30 am »

I have received offers from companies who have found my contact info through the SMA (and I've heard for a few PMs that they prefer to hire through the SMA rather than ARTsearch). But they can't see my resume on the SMA site, just my profile. I'm working to spread the word about the resume browser here on SMNetwork - so post yours and keep it updated. It's a marvelous resource for fellow SMs, students, and hirers alike!

My two cents on websites: I enjoy seeing a professional self-promo site. It just appears to me that the owner is a modern, tech-savvy SM willing to take the time to get themselves out there on the web. However, this effect is destroyed if the site welcomes anything that isn't professional - anything at all about personal life (family, pets, cute pics or animated icons (ick!), etc), especially a blog about what you ate last night and your current crush. I would recommend having two sites if you want to have a page or family and friends to check-in about your life, and another with your resume and professional materials. They can link to each other, but should remain separate portals. [I don't have a website, btw. I am not particularly computer savvy (just savvy enough!) and haven't needed such a resource in my career as yet.]

285

SMNetwork Archives / Re: Just got a new book.

« on: Jun 22, 2006, 11:47 pm »

While I enjoy Stern's book, I much prefer Tom Kelly's Backstage Guide to Stage Management.