Messages

286

Stage Management: Plays & Musicals / maintaing a show

« on: Jul 07, 2006, 04:12 pm »

With my current show, anytime I've been about to give a note, the actor has come up to me the moment I've walked in the Green Room and started talking to me about the scene.  Or, I walk into the Green Room and they are talking with their scene partner about what was different that night and how did that feel, and they'll ask my input as to whether it worked better before, or if I liked what they did that particular performance.  It's been a nice process and has been very effective. 

Then last night I went to check in with one of the actors because she had done something in the scene that she has told me before is her least favorite and that she has always had trouble with it.  There is no other way to really describe it except that it felt really different last night-- the energy, her intention in the scene, her line delivery.  It wasn't really good or bad, just different.  So I was chatting with her in her dressing room, and told her that the scene felt different tonight and asked how she felt about it.  She started getting very defensive and upset that I had made a comment about the scene.  I was hoping for an open dialogue to check in with her about the scene and it just made her upset and flustered, which wasn't my intention.  I almost feel it would have been better to not even have talked to her about it. 

Any pointers on giving notes to actors?  Do you usually do verbal or written?  Do you have a certain way you phrase your notes that illicits open discussion as opposed to defensiveness?  Any insight is greatly appreciated!

287

Tools of the Trade / Re: Favorite Deck Flashlight?

« on: Jul 07, 2006, 01:46 am »

I have a pink MiniMag that works quite well for me.  And since it's pink, everyone knows it's mine and therefore it always gets returned to me. 

288

Tools of the Trade / Re: What goes inside a SM Kit?

« on: Jul 05, 2006, 10:01 am »

That is quite a list you have compiled Didaskalos.  Thanks for posting it!  I think my favorite item on the list would have to be self-amusement toys (I have a mini Etch-a-sketch and bubbles in mine)!

289

Students and Novice Stage Managers / Re: The Ultimate Decision

« on: Jul 02, 2006, 02:20 am »

I got into theatre because my high school debate/speech coach (UIL/NFL) was also the drama teacher.  I started out acting.  Theatre was just another extra-curricular activity for me until I went to a summer theatre camp before my senior year.  That's when I fell head over heels in love with theatre and knew that it's what I had to do for the rest of my life.  I went to college as a theatre major, but didn't immediately declare a specialty.  I auditioned the second semester of my freshman year and got a callback, but didn't get cast.  After the callback, one of the grad students that I had become friends with asked me to come work on his thesis directing project.  I agreed because I really wanted to work on a production.  I started out as general crew, but he quickly recognized that my personality and skills were well suited for stage management, and since he hadn't found an SM yet, he made me his SM.  I didn't really know what I was doing since my high school productions didn't have a real SM.  I did everything the director told me to, and picked up on everything really fast.  I had a lot of fun, and the show went well.

After that show, I continued to stage manage student productions, then ASMed a mainstage show for my university.  It was fun, but I didn't think I would do it as a career.  At that point I was pretty convinced I would pursue theatre history or dramatic theory & analysis/dramaturgy, continuing on to grad/post-grad work to become a professor.  Then I stage managed my first mainstage show, Chicago, and knew stage management was what I would do for the rest of my life.  There was just something amazing about coordinating the schedules of 29 cast members into three different rehearsals (music/dance/blocking), managing a 15 person orchestra (largest to date at my university), coordinating the scene changes, overseeing a large crew and calling one of the most complex and spectacularly lit shows I have worked on that sealed the deal for me.  It's on that show I first got my reputation as being an SM that understood the balance between friendly and yet authoratative.   It's also the first show that I did where my parents actually understood what I did, that I was serious about theatre, and that I was really happy.  That was a very good feeling. 

And the rest is history.  I'm working now as a freelance AEA Stage Manager, and loving every minute of it!!

290

Employment / Re: Websites

« on: Jul 01, 2006, 10:13 am »

To those with websites: what service/site do you use as your web host?  Any pros/cons?  Thanks!

291

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

« on: Jun 30, 2006, 01:37 am »

When the show goes into  tech, I know it so well I'm not really necessarily following the text itself -- it's like I have the page itself memorized, so I know where things are on the page as the actor is speaking/singing (does that make sense?)  So with my Qs in the right all in the same column, I can scan down a page easily to see what's coming up.

That makes total sense!  I'm the same way.  I always get to a point where I can visualize the script page in my mind without looking at it.  I know what the last line on a page is and start turning the pages automatically.  And as I get into the run of the show, I know exactly where the cues are on the pages and can just glance at the page instead of following along word for word, which allows me to really watch the show each night.  Much easier to maintain a show that you're watching as opposed to listening to. 

292

Stage Management: Plays & Musicals / Re: Outdoor Theatre Advice / Much Ado About Nothing- In the Park

« on: Jun 29, 2006, 01:37 am »

You should also be aware of what plant life is around the space.  While working in outdoor theatre one spring, my director and some of the cast found their way into some poison ivy and poison oak.  They quickly realized what they had gotten into, so it wasn't as severe as it could have been (no hospitalization), but it was rather unpleasant.  Calamine lotion/hydrocortizone cream seemed to do the trick in that instance. 

We never had ducks or other wild life grace our stage and chase the actors, but we did have a frisbee land in the middle of the stage during a performance of The Winter's Tale.  The theatre was quite close to a "hole" for my university's Ultimate Frisbee course and people would play through in the middle of performances.  My particular favorite frisbee moment, though, was when they hit our lighting professor with the frisbee.  He had quite an interesting confrontation with the frisbee team leader.  The lighting crew and I almost died of laughter. 

293

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

« on: Jun 29, 2006, 01:25 am »

I take blocking on the left hand side of my book since I'm left-handed, so I write in my cues in the right hand margin of the script on the right hand side of my book (I tech the show in my blocking script so that I can still take blocking notes since blocking is still subject to change during tech/opening week, and make a clean call script after opening).  I usually format the text so that the left margin of the script is just wide enough for hole punching, leaving me tons of room in the right hand margin.  This way, pesky binder rings don't get in the way of my left-hand when writing in the cues.  And since having cues in the right hand margin of my book is the way I tech the show, I think I would be quite confused if I setup my clean call script the other way.

However, I have seen books done in the left margin and I totally understand and appreciate the logic behind it; it's just not for me. 

294

Stage Management: Plays & Musicals / Re: Creating a call script

« on: Jun 27, 2006, 11:54 pm »

I just did my first call script in Word and am in LOVE with it.  I teched the show using a pencil and ruler, and then transferred it all into Word as I had time.  The script is very clean and very easy to call from.  I look forward to trying this method out on a musical. 

295

Students and Novice Stage Managers / Stage Managers & Computers

« on: Jun 15, 2006, 08:55 am »

That's a great topic for a research paper!  

For me, my laptop is one of the most important tools in my arsenal.  I have it on at all times during rehearsal.  It's great to be able to write notes for the report during rehearsal and have it ready to print and distribute at the end of the day.  I can also make schedule notes as the director gives them to me.  All of my paperwork including reports, schedules, and run sheets is generated on my computer.  

Also, at the theatre I currently work at, there is a wireless network that reaches to the rehearsal hall.  I am able to send emails and exchange instant messages with the production staff and designers while still in rehearsal and get responses much more quickly than waiting until they see it in the report the next morning.  I can also access the theatre's internal network and be able to show the director costume renderings, props research, model pics, etc, because they all exist on our public drive.  

However, I do have hard copies of ALL paperwork.  I had a laptop crash while I was in the middle of writing my thesis.  I had backed it up and was able to recover it, but the thought of that ever happening to me again has made me think twice before going completely paperless.

Best of luck on your paper!!!

296

Students and Novice Stage Managers / Resume Formatting -What stands out?

« on: Jun 11, 2006, 03:44 pm »

Thanks for the link and the info!  I installed the program and converted my resume as a test.  It was so fast and easy!!!

297

Students and Novice Stage Managers / Resume Formatting -What stands out?

« on: Jun 11, 2006, 10:11 am »

If you are electronically submitting a resume, it should be in PDF format.  

Do you have the full version of Adobe, or do you use one of the free, web converters?  With the web converters, I've often found that they tag it somehow saying something like "this PDF was made for free using ____."  Do you know of any web converters that don't tag the converted file?  I haven't really found a need to purchase the full version of Adobe, but think you've made a good point about sending your resume electronically in pdf format.

298

Students and Novice Stage Managers / Resume Formatting -What stands out?

« on: Jun 10, 2006, 08:40 am »

I second what nmno says regarding keeping font type simple and standard so that it is universal for ease in emailing.  Since so many employers ask for submissions via email, it's important that you choose a font that is common to most computers (PC and Mac) such as Times New Roman or Arial.  This way, when you submit your resume electronically, they see the same version on their screen as you see on yours and all the time you spent painstakingly formatting and getting your resume just perfect isn't lost.  And if you are absolutely in love with another font, you could use it for your printed resume if it is something that isn't very common.  

I've seen a lot of resumes, mostly acting resumes from running auditions, and I can tell you what I don't like easier than I can tell you what I do.

My resume no-nos
1. Using color for text, especially multiple color on the same resume
2. Using several different fonts, sizes, and styles.  
3. Wacky paper.  
4. Size 8 font or smaller.  
5. Graphics, especially standard clip art graphics from Word.  

Keep the format plain and simple, but still make it you, which is a hard balance.  Let your work on paper speak for itself, and then sell yourself in person when you get the interview.

299

The Green Room / Food

« on: Jun 08, 2006, 08:57 am »

My schedule on my current show has actually allowed me to pack a very healthy lunch and several snacks each morning before I go to the theatre.  I've been making a ham & cheese sandwich, and then I either have natural root potato chips or edamame (frozen, which I cook in the morning while I make breakfast and then reheat a bit at the theatre), and Jello pudding or yogurt for dessert.  For snacks, I take string cheese, pistachios, and celery with peanut butter.  And I keep a water bottle at my table that I refill each morning and am usually successful in drinking the entire bottle by the end of the day.  I really hope I can keep this up on future productions -- my energy levels are up and I feel healthier.

300

Students and Novice Stage Managers / how much time?

« on: Jun 05, 2006, 12:58 pm »

The amount of time I spend doing pre-production really depends on the complexity of the show that I'm SMing.  If it's a musical, I usually give myself about 2 weeks to get everything done -- one week at home, one week at the theatre during my AEA pre-production week.  During the first week, I re-read the script, setup my laptop for the new show, start setting up paperwork, etc.  This gives me plenty of time for meetings with the departments when I arrive for pre-prod as well as time to tape out the set.  For my last show, my ASM and I had to tape out two rehearsal spaces, so that took 1/2 of one day and 1/2 of another due to the availability of the spaces, so you have to take things like that into account.

When I'm doing a straight play, I usually only use my pre-prod week (although I usually re-read the play the week before I'm scheduled to arrive at the theatre).  Fewer people, fewer set moves, fewer props = shorter pre-prod (although this isn't always the case...)

I can usually tell upon first read of the script and receipt of notes from the design/production meetings that happened way before rehearsals as to whether I'm looking at one or two weeks worth of pre-production preparation.  You just have to give your self time to be totally familiar with all aspects of the production and be prepared to start rehearsals.