Messages

31

Employment / Re: To tattoo or not to tattoo

« on: Jan 03, 2007, 10:50 am »

A dancer in the show I ASM'd this summer had beautiful tattoos on her shoulders. Unfortunately, one of her costumes had a halter top. She tried three different tattoo cover-ups and while they were relatively effective they were also a nightmare for the costume mistress. They rubbed off on the insides of her costumes (she had to cover pre-show because of the quick change into that costume) and on the costumes of everyone who touched her. Wouldn't you know, the scene was a tropical scene and the guys were all in white/cream and she danced with four of the six during the musical number.

I'm a huge fan of body art. Have three tats myself. But I have NO intention of being an actor of any kind and all of mine are in places that are covered by normal "business casual" clothes, or the watch on my wrist.

Remember: Tattoos are (almost) forever. Ruby Laser treatment is expensive and very uncomfortable.

Owen

32

Tools of the Trade / Re: Headset Headaches?

« on: Jan 01, 2007, 08:40 pm »

I use a featherweight, too. Even so, by the end of a long session my ear would often feel stressed and the pressure on the off side often made my temples ache as well. I finally took some cast-off pieces of sheerling and fashioned pads for the earpiece and the bar on the off side. No more headaches.

Owen

I find it interesting that you wear a featherweight and are still having headache problems.  Hmm...
I used to wear a cloth headband (actually a bandana folded over) to relieve the pressure and balance a larger muff, although I don't usually have a problem with my lightweight headset.

33

Stage Management: Plays & Musicals / Re: Interesting request for performance reports...

« on: Dec 29, 2006, 02:52 pm »

This is standard on the performance report form I use. Keeps me aware of the tempo of the show, if we're hitting the mark consistently, if we had to hold the curtain for one thing or another.

Owen

34

Students and Novice Stage Managers / Re: Footloose

« on: Dec 29, 2006, 02:37 pm »

You'll make it the best it can be, just by doing your usual best.

I just joined the board. I'm just wondering what's happened so far with your situation. Have you been able to establish a rapport with her? Has she figured out that you are there to support her in what she's doing?

It can be very difficult to reassure a novice director that theater is a team effort, not a competition. No matter how self-assured she may appear, it is probably a cover for serious self-doubt. You may have to point out places where she is overstepping bounds, but I'm sure you'll find a way to do it that reassures her that you are working WITH her, not against her to make this the best production ever.

Owen

Im a SR in high school and am stage managing the spring musical of footloose. i just finished the run of frankenstein. anyone have any good pointers to make footlose the best it can be? with this being me last high school test i want it to be the best.

also i have a student director who i know i am going to butt heads with. she is very power hungery. i dont want to go to my director cause she has way to many stresses as it is and i can deal with it on my own. what i need to know is do i let her get away with thses things or call her on it?

35

Stage Management: Plays & Musicals / Re: Maintaining

« on: Dec 29, 2006, 01:35 am »

I've had directors tell me, point blank, that they come back to see the show and love to see how the cast has become comfortable with their characters. I've also had the same directors thank me for giving actor notes that indicate where timing has suffered, where I've insisted that lines be reviewed and returned to their original form or cadence.  I think it depends on the director--and the difference between getting "comfortable" vs. cavalier about lines, "maturing" vs. grandstanding, or upstaging others--or of showing up for performance too hung over for work.

Owen   

36

Stage Management: Plays & Musicals / Re: I need everyones opinon...

« on: Dec 29, 2006, 01:26 am »

I've had the opportunity to call from a light booth on the mezzanine level above the house lobby, from a small desk in the DSL corner of the wing with view of the opposite wing, but not a lot of view of the stage, and most recently, from a table perched on the top of a 16' high scaffold parked in the orchestra pit at the apron of our procenium stage with my audience seated below me on the main stage with the set built around them in a 3/4 size representation of the Rose Theater. (We did Much Ado on a set full of stairs, doors, windows and eaves, as well as a little garden.) Without a doubt, my favorite was the scaffold with my sound board op sitting next to me on our 4x6' perch and our light board op on a level below us with seats less than four feet from her. It's amazing how quietly we were able to work. People I talked to after the shows hardly knew we were there. Once the house lights went out, they were so involved in the action they forgot about us. I loved being able to feel the audience respond to the actors.

When I call Dance presentations I've worked from the SM's table with a single deck hand on SR. It is my second choice, though I haven't had CCTV and had to rely on spotters on headset to call some shifts. I certainly prefer being able to see my entire stage for a play. Calling from the light booth in a moderate to large house has become my choice of last resort.     

Owen