Messages

31

College and Graduate Studies / Re: Newspaper interview for the SM? What?

« on: Sep 18, 2013, 12:12 pm »

I did one of these last year.  It was fun.  Definitely be ready with an answer to what a stage manager does (and then be prepared for them to still get it wrong when describing it...)

32

Tools of the Trade / Re: iRFR App

« on: Sep 17, 2013, 12:04 am »

I have seen this in use at two theatres now.  Mostly I've seen it used for channel check.  It seems to be replacing the device specific RFUs.

It did come in handy during one performance though, where we had a spot op out, so the light board op was subbing on spot and someone new to the show was subbing on the board.  We had a practical that was flickering, and it was easier for the LBO on spot to park it out from the ipod than talk the inexperienced sub through doing it on the board. 

I occasionally like to see the monitor with the cue list in my periphery, if I'm calling in the booth with the LBO, but I don't know that I'd want another screen right in front of me in a booth situation (perhaps calling from backstage though).

33

Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!

« on: Jun 22, 2013, 10:21 am »

I'm looking for La Cage Aux Folles and Les Miserables, if anyone has them.

Thanks!

34

Students and Novice Stage Managers / Re: What's the Difference?

« on: May 02, 2013, 10:51 pm »

I feel like beyond basics like breaks, "an Equity rehearsal" can vary wildly depending on the contract.  On some smaller contracts you have to have the whole rehearsal schedule announced at the beginning of rehearsals, and other larger contracts, as long as you stay within in your weekly and daily hours you can give 12 hours notice of what rehearsal will be. 

Working AEA style you cannot call the entire company for every rehearsal and then figure out what you're going to do with them once they arrive. The schedule needs to be set well in advance and specific calls need to be provided.

Yes and no.  You probably shouldn't call the entire company for every rehearsal and then figure out what you're going to do with them (makes everyone really cranky), but you can as long as you're within your hours.  Particularly in tech, I've definitely put out schedules that call FULL COMPANY for WORK TBA.

My university also had an AEA based rehearsal rulebook, that everyone had to sign at the beginning of rehearsals.  We followed the AEA break schedule, and we even had a deputy of sorts. 

Some of the biggest differences I can think of in an AEA setting, as others have pointed out, pertain to the media rules.  They are another thing that differ from contract to contract, and its the section that changes the most with every renegotiation as theatres and the union come to terms with the changing role of the internet/youtube/twitter, etc. in our industry.

35

Employment / Re: What are you looking for in the next job>

« on: Apr 30, 2013, 11:09 pm »

A lot of mine are also on your list, Matthew. My primary wants are a job that is challenging/that I can grow in, and feeling respected and valued within the organization/team. Also, I want to work where I feel supported during the process. When I first started SMing, I thought this was a matter of working at organizations with a lot of resources (money, personnel, etc). But I've worked at larger organizations that don't do this well, and smaller organizations that really make the effort to really support me and the rehearsal process. Given the choice, large or small, I'll pick the organization that supports me.

I am also finding this increasingly important in my decisions. 

36

The Green Room / Re: SNOWMAGEDDONPOCALYPSE

« on: Feb 09, 2013, 05:54 pm »

We ended up losing 3 shows to this storm.  On Thursday they made the decision to cancel Friday night and Saturday afternoon, but they held out on cancelling the Saturday night show as long as possible. There was still a travel ban in effect in RI at the time they made the call to finally cancel (since lifted, but I still think it was a good idea to cancel...no one wants to do a comedy for 20 people).

37

Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!

« on: Jan 10, 2013, 01:58 pm »

I know this one has been on this list before.  I'm looking for Oklahoma!  If you have it, please shoot me a PM.  Thanks!

38

Stage Management: Plays & Musicals / Re: TERMS YOU NEVER HEARD OF BEFORE

« on: Dec 16, 2012, 03:30 pm »

My summer theatre does this as a board, with a photo of everyone in every department, posted on a wall in a backstage corridor. 

39

Employment / Re: Resume Format

« on: Sep 26, 2012, 05:41 pm »

I do it as a Word document with the tables, but print to PDF without the lines.

Seems to work fine.

I would never send out the WORD file directly as different computers will open it up different ways.

Same here.  I'm just not an Excel user, so I do lots of tables in Word...

40

Stage Management: Plays & Musicals / Re: Blocking help

« on: Sep 23, 2012, 11:34 pm »

I find I use diagrams a lot when I have a large cast and position of one person relative to another is important.  When I have a smaller cast, I rarely breakout the ground plan. 

41

Stage Management: Plays & Musicals / Re: Time question

« on: Aug 23, 2012, 09:59 pm »

I always use seconds on my performance reports, but usually round to the closest minute for run through times in rehearsal reports, because those are more apt to change significantly. 

42

Self-Promotion / Re: King Lear - Trinity Rep / Dallas Theater Center

« on: Aug 05, 2012, 08:12 pm »

Welcome to Providence! 

43

Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!

« on: Jul 18, 2012, 11:53 pm »

Thanks!

44

Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!

« on: Jul 18, 2012, 11:15 pm »

I'm looking for The Mikado if anyone has it.

Thanks!

45

Stage Management: Plays & Musicals / Re: Sweeney Todd

« on: Jun 26, 2012, 12:19 pm »

I'm doing Sweeney now.  We have a two level set with upper galleries on SR and SL, and a bridge that rolls US/DS between them.  We have a bunch of flies (the chair flies in), and a a bunch of rolling pieces that come and go (pie shop table, oven, grinder, Pirelli stage).  We also have a "landing platform" that comes and goes, and connects to the main chute on the bridge for the chair trick.  Our open set has made a few things tricky, like getting Pirelli out of the trunk after he's killed.

Is your theatre renting a chair rig, or building something?  Be sure to build in time on set to get your victims used to that ride, as it can be scary at first.  We are also doing a TON of blood, with a trick knife that spurts, and a blood bib for the shaving victims that is cheesecloth lined underneath in vinyl to protect their costumes.  The blood just drips down it.  But it does get everywhere.

We have a pretty large ensemble (15),  but thankfully we do not have a lot of costume changes (instead they're shifting our moving pieces during most scene changes).  They have a basic costume, then they change for the ball for Poor Thing, but that's it.  We're doing Fogg's Asylum as shadow play, and then our City on Fire sequence is dark and red and you don't pay attention to the fact they're wearing the same stuff they've been wearing throughout.

I second the call for lots of music rehearsal in your schedule.  Not only is it sung through, but this is very tough music.  I will also suggest that if your Mrs. Lovett, Johanna, or soprano ensemble members are wearing corsets in the show, to see if you can rehearse with them.  We ran into some trouble with the blocking/high notes being much more difficult once they got into corset.