Messages

31

Stage Management: Plays & Musicals / Re: Do you call from house or backstage?

« on: Feb 13, 2008, 07:13 pm »

Whoa! Talk about British 'Old School'!

PS and OPS (Prompt Side and Opposite Prompt  Side) - though by time I 'did the Provinces', that was largely replaced entirely by SL and SR - in reference and - thankfully - blocking. Still, most of the theatres I worked in (city-owned touring venues) still had the PS (SL) calling location for the SM. I don't recall ever having a FOH booth, short of doing pub venues or black boxes, like the Donmar Warehouse or The Young Vic. I guess I never played the converted cinemas, jmc!

My very first experience calling shows was here in North America in an old Pantages House, and its calling station was (and still is) SR. I don't recall FOH booths until Black Boxes became de rigueur in the 70s, when one could never be sure where the stage (or audience) was going to be. Somewhere along the line after that, it became acceptable to throw the SM up into the Gods - even in a pros House - to call a show.

All things considered, I still prefer to be 'on deck' (even if that means with limited sightlines), but I have been several floors (and at leasts 3 minutes away) from the stage with an ASM on deck in lieu....

Ha! History lesson for the young'uns!

 

32

Stage Management: Plays & Musicals / Re: Injured actor, no understudy

« on: Feb 12, 2008, 12:18 pm »

A few experiences here leap to mind -

1/ An actor (1 of 3) was 'let go' late on the Saturday before the Wednesday Preview. Sunday was the Day Off with Monday and Tuesday being the Tech Days. Management found an actor who had done the role, flew them in and on the Monday morning I and the other two cast walked the actor thru the blocking. Rest of the Tech time went as originally planned and we Previewed without issue or comment to the audience. There had been talk of putting an insert in the program noting the swap, but as the program had not been put to bed until Monday, I pushed for simply swapping out the photo and bio, which was done.

2/ While on an extended tour, one of two two male leads collapsed backstage during a performance. When it became apparent he was not going to be able to go on, I turned to one of our other actors (small role and finished at this stage) and asked if he would be willing on going on (with book), if required. He agreed. Ill actor was put in civvies and resident theatre management saw him to hospital, the other actor got into his costume, I got word to actors onstage there was a problem and, at the actor's intended entrance, I came onstage (in costume as all scene changes in full light), stopped the show and explained we had a had a ill actor backstage, we had a 'volunteer' willing on going on in the true 'The Show Must Go On' form and asked for an applause poll as to whether we would stop the show or continue on. The audience overwhelming voted to continue on and after a moment's prep, we continued the play. The replacement remarkably knew a lot of the lines (rather by osmosis after 24 weeks with the show) and was gently guided about onstage by fellow actors, if needed. Audience went wild afterwards.
Lead actor ended up being out for two days and we did an emergency rehearsal the next day with our 'volunteer'. He ended up doing both his original role and that of the Lead with the only troublesome moment a point when both characters were blocked to be onstage at once. I resolved this by having one character in doorway, facing US, speaking the lines and replying in the other character's voice!

3/ Lead actor (musical) whose voice suddenly went during Act 1 of 2 act production and who said at the Intermission she would be unable to continue on. I had already put a call into management at soon as I noted problem in Act 1 and so the AD was in the theatre by Intermission. Upon being informed she could not continue, I let AD know, he conferred with actor and decided that he would cancel the show. At the end of Intermission, he came onstage and noted the problem and the cancellation, along with an invitation to return for another performance.
Bigger problem was that actor did not go to theatre doctor as was arranged, but disappeared out of the theatre during AD's speech and did not answer calls to cell or hotel, so no way of knowing what the situation was for upcoming shows. Management dealt with this and she returned the following evening.

4/ In the UK, it is often the case there is a Stage Manager and a Deputy Stage Manager (and then various ASMs) and it is often the DSM who will be responsible for taking down blocking in rehearsal and for calling the show. On one production I was involved in as SM, my DSM reported feeling very unwell after the show and, whisking her to hospital,  we discovered she had appendicitis and would need immediate surgery.
 I called an emergency rehearsal for the next day so that I could run thru the show with the Book. Just as well as her  Calling was noted in a form totally unfamiliar to me, in pencil, in microscopic print - and the show was very intensive with visual Qs called almost blind without benefit of monitor or clear line of sight. I rewrote the Qs in BIG BOLD PRINT and inserted these into the Book between rehearsal and evening performance, my ASM took up some of the slack left by me 'in the chair' and the Company muddled thru. A replacement DSM came in the following week (the original out of commission for 3 weeks) and this person was very pleased to see my additions to the Book.

Which only begs reminder that those who Call a show remember they too are not immune to 'Life' and the Book should should be able to (within reason) be understood by anyone in an emergency...

33

Tools of the Trade / Re: i discovered the best SM/backstage shoes ever

« on: Feb 05, 2008, 02:08 pm »

Dinkles?

I've obviously had 'way too much exposure to old British comedy (film and stage) to be able to take the idea of wearing these without comment from crew or company seriously -

"Ooh, err! That's a nice pair of Dinkles you've got there!"

Somewhat diminishes one's status, I think...

34

Tools of the Trade / Re: S.M.Arts Conference in Toronto

« on: Jan 30, 2008, 05:53 pm »

Yuppers - so that's about $USD564, £283, ¥60,000, 380 EURO at today's rates...

Plus accommodation, obviously.

(Oh, and don't forget your passport. We're a friendly bunch up here, but if you're hoping to get back into the States thereafter, US Immigration will want the passport...)

35

Tools of the Trade / S.M.Arts Conference in Toronto

« on: Jan 30, 2008, 12:39 pm »

While this could just as equally be posted in the 'Students and Novice SM' section, I thought I should include this here as the Conference is geared to expanding the knowledge of all SMs - so definitely 'Tools of the Trade'.

My copy of the brochure just arrived. The S.M.Arts: Stage Managing the Arts Conference takes place February 28 - March 10, 2008. This will be the 12th Conference in Toronto and encompasses 28 workshops as lead by active SMs, Production Managers, Artistic Directors, Equity Staff and Career Counselors. The workshops cost $35 per individual course, $30 each for 10 or more or a Conference Pass at $560.00.

Workshops this year are: Scheduling & Planning, Notation/Forms/Prompt Script, Wardrobe, Production Management, Problem Solving, Film Festival, Industrials, Production Stage Manager, Reading Plans, Assistant Stage Management, Financial Planning, Job Interview/Negotiating, Dance, Apprentice Stage Manager, Canadian Theatre Agreement - two Sessions, Special Events, Giving Notes, Resume Building, Training Apprentices, Theatre for Young Audiences, Repertory, Safety, Commercial Musicals, Reading Music, Opera, Calling a Show and Career Transitioning.

There is also a day long Master Class on 'Stage Managing the Ballet' with the National Ballet of Canada at an additional $80.

Oh, and there's a  'Pub Night' on the final evening, too!

Previous participants have come from across Canada and from Europe.

More info on the Conference (and assistance with finding digs) can be had by contacting Janelle Rainville at smartsconference@gmail.com or (416) 200-7588. With luck, Janelle should be able to get this brochure out to you if you contact her in a timely manner.

*****

One or two items here have caught my eye - 

36

Stage Management: Other / Re: Running lights from front of house?

« on: Jan 25, 2008, 02:49 pm »

I did a production of Trafford Tanzi where the deck  was pushed out over the first 10 rows of the audience, those seats placed on the stage surrounding the 'wrestling ring' which was centred just DS of the pros.

I could not see the entire ring (the stage) from either usual calling position (FOH booth or at DSR pros), so we made the decision to move me out into full view between the SR and US onstage audience - balancing off the MD on the other side of the stage. I had a music stand with light, my Book and wireless headset. Replacing my blacks I had a Referee's top. If I was going to visible, why try and hide? I became a part of the show. I was accepted by the audience as such and they turned their interest to the play.
Preshow, as the audience came in, I could remain at the ring, sweeping it down and checking the ropes one final time - and there were a couple of times during the run where I was able to get up and move to the ring to check on something. Once, one of the ropes snapped - I ran up and conferred with the actor 'Ref' who stopped the action - while I affected a temp repair - and he kept up a banter with me, the other actors, the MD and the audience. Essentially I stopped the show but the audience may not have even been aware it wasn't part of the shtick.

Don't be afraid of the audience - you're there for a purpose and while they may be fascinated by what you are doing, if your actions and intent are centred towards the production, they too will be.

37

Tools of the Trade / Re: Should I become a Mac-er?

« on: Jan 15, 2008, 09:00 pm »

NeoOffice -

http://www.neooffice.org/neojava/en/index.php

Save yourself a couple hundred bucks and get most Office compatibility...

(if you've just gotta use Macs. Kidding! Just kidding!)

38

Stage Management: Plays & Musicals / Re: What to do with an actor behaving badly?

« on: Jan 10, 2008, 06:12 pm »

What VSM said.

Always best to go the individual first in a non-confrontational manner - no need (yet) to call them on the carpet or have others in the Company see / be aware this chat is happening. Hopefully this will resolve the issue with this.

That being said -

If the Artist is on a Guest Artist Contract, then they (as well as the Management) have contractual obligations they must follow and meet. While I don't know the AEA Guest Artist Agreement off hand, I'm going to go out on a limb here and say that it may be vague upon Duties and Obligations of the Artist - but as an AEA member, certain professional expectations are implied, and that includes arriving for Calls on time and not being impaired (again, as VSM said, is it a beer with lunch or is it significantly more?).

Document your chat with the Artist 'for the files'. I'd also advise management that you've had some concerns and you have attempted to resolve them informally. If your concerns are not resolved at the time or there is backsliding, then I think its is perfectly fair to further involve the Management and, even if not an Equity Company, call Equity and pose the problem to them and ask what is the procedure to follow.

This may result in a little 'heart to heart' between Management, Equity and the Artist as contractual obligations are reinforced  (and perhaps a little tenseness in rehearsal or the Green Room), but doing a production isn't about 'covering' for an errant Artist, to the detriment of others or the production.

Just my 2¢

39

Stage Management: Plays & Musicals / Re: Actors' agents and managers

« on: Jan 06, 2008, 08:33 pm »

Looks like no definitive answer here.

I've dealt with all of the above situations - with both 'stars' and lesser celestials. My usual, once we have the Company in rehearsal, is to ask the artist how best to contact them. Most are happy to have the immediate Company Members know their home/cell numbers, but for Management to only know their Agent's.

Prior to first rehearsal, if I've only been given the Agent's number, I'll use that - and some have taken messages and some have given me their client's direct number, most especially when they find I'm the SM.

Once into rehearsal (in Canada) it is the actors' responsibility to know their calls - not that of SM to spend their post-rehearsal prep time in leaving messages. Most often that means that I leave the next day's calls on the Callboard, an email posting and, for those who may not be around once the call is set or near the net, posting it in the SM's voicemail.

40

Tools of the Trade / Re: Stage Manager Books/Manuals

« on: Jan 02, 2008, 12:20 pm »

No books on SM'ing in the UK pop immediately to mind (and boy, it can be different from what you may have come to expect in North America) but you may wish to contact the good folks at Samuel French in London -

http://www.samuelfrench-london.co.uk/

to see if they have anything recent.

Better yet perhaps, is to contact the SMA in London -

www.stagemanagementassociation.co.uk

and see what they have to suggest.

Incidentally, the SMA has posted a little Career Guide online which certainly gives one a feel for some of the differences -

www.stagemanagementassociation.co.uk/pdf/smcareerguide.pdf

Read at your peril!

 

41

Tools of the Trade / Re: Stage Manager Books/Manuels

« on: Jan 01, 2008, 05:09 pm »

Just to throw in an unusual (for the US brethren) offering -

Stage Managing the Arts in Canada by Winston Morgan (an active Equity SM)

Published as a companion to an annual workshop series done here called SMArts -

http://www.caea.com/Equityweb/Regions/StageManagement/SMArts.aspx

It assumes you already have the background in SM'ing and then supplies essays, guidance and checklists for the process. It also has a supplementary reading guide and Equity contact lists. Its available via the Toronto Equity office and TheatreBooks -

http://www.theatrebooks.com/   

42

Tools of the Trade / Re: Should I become a Mac-er?

« on: Jan 01, 2008, 04:57 pm »

I've always been fairly ambidextrous when it comes to the 2 mainstream OSs (useful when some companies have an in-House network of one kind or another - and rarely cutting edge), while my current personal primary computer is a WinOS notebook.
Really, its whatever you're most comfortable with and/or how specialized is the software you use on it is. Well, that - and if you can justify to yourself (or your Accountant) that paying the premium for a MacBook is necessary or worth it.

That being said, I'm currently experimenting with the ASUS eeePC subnotebook which, at 9" x 6.5", is certainly portable.  Its running a version of Xandros Linux (which, set in Advanced Mode, looks very XP) and which has happily loaded all my usual docs, pictures - and 3+ hours of music - on its internal SSD. Not bad for $400...