Messages

31

Tools of the Trade / Special Effects Classes?

« on: May 27, 2008, 10:59 pm »

While Stage Management is my first love, I am also very interested in special effects (especially blood effects). I live in the Boston area and I was wondering if anyone knows of a reputable place to take classes in special effects for the theatre.

I know this might be a long shot, but I thought I'd put it out there.

Thanks!

32

Stage Management: Plays & Musicals / Re: "What The Butler Saw"- Any suggestions?

« on: May 27, 2008, 10:20 pm »

I've not done this specific play, but in response to the oozing blood pack I have a couple of suggestions:

Depending on his state of undress, a good way to do "oozing" is to use a kind of pump action. The actor squeezes a pump (in his hand or some other convenient place usually dressed under the clothing so it can be squeezed inconspicuously) and it releases a small amount of blood each time creating an oozing effect. Using a recipe for a thicker blood usually helps it not to run.

Another way (also depending on how many clothes he is wearing and where the wound is located) is to under-dress a blood pack taped to his body with small small holes poked in it. It shouldn't be filled to bursting, there should be slack in the blood pack. This way, when the actor applies pressure, the tiny hole(s) will leak and it will appear as if the wound is oozing through his clothing.  Thicker blood will also help here.


Hope that helps!

33

Stage Management: Plays & Musicals / Re: "Blood" cleaning techniques

« on: May 27, 2008, 10:12 pm »

I did a production of Big Love which involved A LOT of blood (upwards of 20 blood bags a night on white wedding dresses/tuxedos) and we used a really hard-core dye remover in the wash between shows.  While the clothes were (inevitably) slightly pink by the end of the run, the dye remover worked very well to get out the blood consider the volume of blood and the fact that the clothes were white.

It was an industrial-strength (literally) dye remover/stripper and we had to wear rubber gloves to wash the clothes. We soaked the clothes overnight in a bucket with the dye stripper and then put them in the wash with regular detergent the morning of the show.

That said, if the dye doesn't have to be edible you might also consider using a detergent based blood.  There is a recipe for a Woolite based blood. It's not as realistic (much pinker/foamier) but it does come out of clothes rather well.

I don't know exactly what brand the dye stripper/remover was, but for some reason Rit is coming to mind. I would just look for the strongest dye stripper you can. Also, keep in mind that this worked very well because the clothes were WHITE. I assume an industrial strength dye remover will wreak havoc on colored clothing.  The best I can suggest there is washing a few times in color safe Woolite bleach.

Hope that helps!

34

Students and Novice Stage Managers / Re: writing standbys & cues-----

« on: May 13, 2008, 01:59 pm »

In addition to what Sievep said, I'd also suggest:
-circling (or boxing) a word or words on which you will begin to call your standbys/gos. Some cues need to be timed precisely, so it matters when you start calling them and how fast/slow you say your actual standby/go. Time it out if it's tricky; have your ASMs say the dialogue exactly as the actor(s) usually does and practice calling it so you'll call it the same way each time.
-Color code your post-it flags by cues.  I do sound on green, lights on yellow, flys on purple, and any special effects (gun shots, etc.) on red just for a basic layout.  I do all my standbys on blue. This way I can tell just by looking at the color of the post-it what kind of cue I should be calling. 
-Make sure you space out your standbys and Gos appropriately.  Don't give a standby 3 seconds before you have to call the Go; by the time you finish reading the standby and your board op(s) has replied, you'll have to start calling the actual cue.  Again, time it out and make sure it works. Tech is great for figuring those things out.
-If I'm doing a show that will be running for a long time, I often type the entire script into Microsoft Word (usually at the beginning of the process) and insert my cues (post-tech and previews, of course) directly into the script in Word.  This way I'm ensured that my cues won't fall out of my book (which sometimes happens when you use post-its to cue). There is probably some better software, but I just use Word.

Those are just a few suggestions.  You will be brilliant, I'm sure. 

-Britney

35

Students and Novice Stage Managers / Re: Plotting Points on a grounplan

« on: Apr 30, 2008, 12:51 pm »

I've never used triangulation and find the grid or "plotting" method most convenient and easy to use.

Here are some pointers:

- Base your center line and plaster line off of a point ON THE SET, not a point in the theatre.  Most groundplans are accurate to the set, but the theatre space is not always accurate.
- If you're having trouble locating the plaster line, ask your TD to help you out.
- If you have a fixed platform, for instance, try this:  Look at one of the corners of the table. On the GP, measure from the corner to the centerline. Then, measure from the corner to the plasterline.  This will tell you where to place it on the stage. 
- If I have ASMs, interns, or other assistants, I usually read off the coordinates and have two of them plot the points. It goes much faster.
- Keep track of all your coordinates! If you confuse them or mix them up, you may have difficulty connecting the dots later. Like Sievep said, writing them down on a different piece of paper usually helps to keep them organized.


Good luck!

36

College and Graduate Studies / Re: What Major?

« on: Apr 06, 2008, 10:53 pm »

I am graduating from Ithaca this year!

I love the BA Drama program here. It gives you a lot of hands-on experience especially in the stage management realm. I've stage managed for 4 years here and I feel very prepared for a career in stage management upon graduation.
Name recognition for Ithaca College is extremely high and people are ALWAYS looking to hire Ithaca Theatre Department alumni because they have a reputation of being well trained and highly skilled.
We joke about Ithaca College having "the Ithaca Mafia" because so many of our graduating seniors get jobs because past Ithaca alumni hire them.

So that's my two cents.  I think the BA degree is really the way to go. You can be as involved (or not) as you choose.


-Britney

37

Tools of the Trade / Re: Simulating loose pot on stage

« on: Apr 01, 2008, 02:53 pm »

For a production of HAIR I believe our props master used a combination of oregano, rosemary and thyme. I think the general consensus among the cast was that the oregano was "less smooth" and the rosemary tasted better and hurt their throats less.

38

Stage Management: Plays & Musicals / Re: I have an ASM for the first time....what do I do with him???

« on: Mar 03, 2008, 12:40 am »

Depending on what type of stuff you do paperwork wise, he could have a lot of different jobs. I usually have my ASMs set up the rehearsal space each night (sweep the stage, set up tables, set up rehearsal furniture) and then restore the space afterwards (break down the tables, turn out the lights, put out the ghost-light). After rehearsal I have them type up rehearsal reports and the next day's schedule while I'm talking to the director after rehearsal. Then I can just go in, proofread their work and add any extra things before sending out the report/schedule.  They also do a lot of photocopying for me and take notes during production meetings.
Aside from those tasks I use them as a second brain to help me remember important things, help me do mass callings of the cast, take attendance, and other exciting activities like that.
Essentially, they do whatever I don't have time to do and help make everything go much faster.  I don't like to leave the rehearsal space during rehearsal if I don't have to, so I send them out to get things/make copies/find cast members. That way I can always be there to keep time and answer any questions.
Also: If your director ever wants to run more than one rehearsal at a time, you can send an ASM to the second rehearsal to keep time and give the cast breaks.  It gives the ASM a sense of responsibility and lets them run their own mini-rehearsal in preparation for when they get their own SM gigs.

Hope that helps!

39

Employment / Re: Two River Theatre Co

« on: Feb 18, 2008, 06:49 pm »

I know someone who works there and she only has good things to say about it. She's been with them for one or two years, so they can't be all that bad!

40

Stage Management: Plays & Musicals / Re: Caling the show...

« on: Feb 11, 2008, 08:30 pm »

at my college we call from a box at the back of the audience. Don't know if this counts under your definition of FOH. I find it much easier to call from the back of the audience than from a monitor backstage.

41

Stage Management: Plays & Musicals / Re: I'm not a stage manager but I play one on stage :: suggestions please

« on: Feb 07, 2008, 11:26 pm »

You do everything you can for your actors, directors, designers, choreographers, etc. every day and, most of the time, they don't appreciate/acknowledge any of your hard work. It's kind of like being a parent: most of the stuff you do, no one even knows about so they can't really appreciate it. But, somehow, we love our job and keep putting ourselves in the same position with varying results. Some casts/directors/etc. are very respectful and appreciate, but 8 or 9 times out of 10 this is simply not the case. However, most SMs are fairly content with not being recognized and put up on a pedestal every time they do something important or praiseworthy. If an SM wasn't a self-motivated, goal-oriented person to begin with, they probably would have chosen a different job.
It takes a special kind of person with a unique temperament be a successful SM. You can't take things too personally (you'd go crazy). You have to remain calm in stressful situations. You have to be the most dependable/reliable/trustworthy person in the company. But at the same time, you have to be personable, friendly and someone the cast/director/etc. can talk to. 
As far as "bad" SM qualities...I suppose it's not a terribly good idea to freak out at every available opportunity, especially in front of your cast. It's also probably not a good plan to be a dictator/"yeller" as many people won't respect your authority if you're always lording it over them. I think everyone has their own way of dealing with "divas" but probably one of the worst ways to deal with a diva is to not deal with her/him at all. This will just lead to him/her walking all over you and making you their personal slave/doormat.

So, anyhow, I don't know how helpful (or not) this will be to you. Hopefully more so than less!

-Britney

42

Employment / Re: Summer Internships

« on: Oct 30, 2007, 08:11 am »

I worked at the Hangar Theatre in Ithaca,NY for the past two summers. They provide housing and a small stipend (about $100 a week) to their interns. If you are an ASM your stipend goes up to $175 a week. As an intern you get A LOT of experience SMing black box shows, ASMing a children's show, and being a production assistant on one equity mainstage show. Days off are few and far between and the rehearsal schedules are crazy, but there is a great feeling of community and you get to SM a lot. =)

43

Employment / Re: SM Jobs in Oregon?

« on: Oct 26, 2007, 01:56 am »

I would really appreciate it if you did!!. I've just heard Portland is such a great city and I keep hearing it has a great theatre scene as well, but I can't seem to find any advertisements for jobs there...

Thank you!!

44

Employment / SM Jobs in Oregon?

« on: Oct 23, 2007, 02:27 pm »

Hello!
I'm graduating in May 2008 and I might be moving to the west coast (for the first time in my life), specifically to Oregon (the Portland area). I have had very little luck finding any promising leads for jobs there. Does anyone know any good theatres/theatre companies that might be looking for some (paid) help?

Thanks!!