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Messages - Maribeth

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286
I often ask ASMs to track some blocking, minimum entrances and exits. The reason being that I find it frustrating when ASMs who have been in rehearsals have no sense of what's happening onstage. (I have seen this happen too many times).

I keep my own set of blocking notes, but blocking ties in with props tracking and costumes tracking- if you haven't written any blocking down, then you likely don't know when/how an actor interacts with a prop. Entrances/exits are a big part of costume changes, so at minimum, I like the ASM tracking costumes to have those.

I'm always fine with ASMs double checking any questions they have about entrances and exits or any other blocking against my blocking notes.  What I'm not okay with is having an ASM who is tracking costumes (for instance) on a not-very-costume-heavy show, sitting in the rehearsal room taking no notes, and then later having to ask what the blocking is to make their paperwork.

287
It would be easy to say, "Oh, I would have insisted that they give me a schedule, and stayed after rehearsal to check in", etc. Hindsight being 20/20 and all. It seems like you reached out for information numerous times, and that they weren't receptive/responsive to that.

I've been in situations with directors who have a lot of other organizational responsibilities, esp. artistic directors. Ideally, someone like that has an assistant (either an AD or an executive assistant) and I make as much use of them as I possibly can. I copy them on emails, esp. scheduling emails, and often feed them info to help keep the director on track. Most directors, however, are better about follow-through than this person seems to be.....

I do like to take a few minutes before and after rehearsal to check in with the director, so that we are on the same page about what we need to accomplish that day, what the schedule for the next day is, etc. (It sounds like you try to do this, but they were wrapped up in their other festival duties and/or ignored you.) It could be possible to "push" information on them, rather than request it from them- i.e. make a schedule for the next day and print a copy for them. (One director I work with responds much better to this- he would rather correct a schedule that I made than make one himself).

Can you talk with the APM or other festival management (like a GM, if there is one) about the issues you had at this year's festival? I would probably request to be put on a show with a different director next year. If the director asks why, have the conversation you've been trying to have with them about your communication issues. 

288
Thanks to all for the great suggestions!

289
The Hardline / Re: AEA Contracts
« on: Aug 05, 2015, 08:46 pm »
On the AEA website, click "Document Library" in the bottom right corner of the page. Then, click "Agreements"- the list is there. You could also click "Codes" for a list of codes that are area-specific, but I think what you're looking for is under Agreements.

291
I'm going on tour for the first time next year, and I'm generating a list of questions to ask when arriving in a new venue. Tthe important logistics (esp. tech specs) will be determined ahead of time, so the questions I will be asking upon arrival are mostly about where things are/what certain procedures are. Anyone been on tour and have a list like this they'd be willing to share? Or, have any good questions to add to the list? There will be venue crew on each show so I wouldn't need to know all of the nitty-gritty details of the building.

  • Locations of: dressing rooms, green room, water, restrooms, laundry, callboard, valuables lockup, calling station, SM office (if available)
  • Any codes needed for the building (copier, door codes, etc)
  • Wifi info
  • How to communicate with HM (walkies, headset, phone) and  FOH procedures (house open, late seating, etc)
  • How to use backstage comms/PA/god mic/q lights
  • Who to ask if stage temp needs to be adjusted
  • Names of venue crew
  • Comp ticket procedures (this might be determined ahead of time, not sure)
Side note- I'd love to pick someone's brain about their touring experience. If you've done an AEA tour, especially a TYA production, I'd love to talk to you about it. Please PM me. Thanks!

292
The Green Room / Re: Got my first post-college job!
« on: Jul 26, 2015, 02:30 pm »
Congrats! (and welcome to DC).

293
Introductions / Re: Young SM in Chicago
« on: Jul 23, 2015, 03:26 pm »
Hi and welcome, Julie! What kind of plays do you work on in Chicago?

294
Introductions / Re: Hi everyone!
« on: Jul 16, 2015, 12:42 pm »
Hi and welcome!

295
Introductions / Re: I'm a little scared, but that's fine.
« on: Jul 16, 2015, 12:41 pm »
Welcome, Emily!

296
Introductions / Re: Making myself at home
« on: Jul 16, 2015, 12:41 pm »
Hi and welcome!

297
The Green Room / ARTICLE/PHOTOS: The Fourth Wall
« on: Jul 15, 2015, 03:30 pm »
Really more of a photo essay than an article. Famous European theaters photographed from backstage.

Also a similar project photographing opera houses.

Some really gorgeous theatres!

298
Self-Promotion / Re: Lion King National Tour
« on: Jun 25, 2015, 08:04 pm »
Congrats, Matthew!

299
Introductions / Re: New Member
« on: Jun 23, 2015, 02:37 am »
Hi and welcome aboard, CJ!

There are a lot of great threads on how different SMs take blocking- try doing a search in the upper right-hand corner of the page. I do blocking with paper and pencil. Most of the SMs that I know use their own shorthand that works for them. As long as it's legible, it works. Creating a "key" to explain your shorthand allows someone else to decipher it if needed.

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Introductions / Re: The "New Kid On The Block"
« on: Jun 23, 2015, 02:30 am »
Hi and welcome, Sam!

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