Messages

31

SMNetwork Archives / Re: Happy Stage Management Memories?

« on: Aug 31, 2006, 01:19 pm »

Excellent topic.  I'll throw my 2 cents in.....

A few years ago a director friend of mine offered me a gig to SM a hip-hop musical that she had been coordinating with youth at risk over the past 8 months.  The non-profit organization that was behind it had been around for several years and dealt primarily with kids who were pretty much at the end of the line.  Drugs, prostution, homelessness.  These were part of their daily lives.  The organization, called "ihuman", set up an art studio/walk-in centre for kids to express themselves in a more positive, creative way, while counselors were available to offer help in getting them off the streets/drugs.  This musical was created collectively through improv exercises and games.

Some of the hilights of the gig include:
- casting a girl who was getting out of jail because the original cast member had just gone in (and wasn't getting out for a while)
- asking a 16 year old girl what crystal meth looked like
- telling an 18 year old gang member that, no, he CAN'T bring his gun from home to use in the play
- seeing a couple of our 15 year old cast members getting into a john's car after rehearsal
- having another couple of 15 year old girls steal the producer's car for a joy ride

Anyway, you get the picture.  Of course, after 8 months of working with the director, here I come in and suddenly I'm the authority figure (all 5' 2", 130 lbs of me!).  You can imagine how well THAT went over.  It took me almost all of the six week contract to finally win them over.

Tech was a nightmare.  The show was 3 1/2 hours long, with 8 lav mics being mixed live, a couple of wireless mics, scene changes from hell, a cast of 16, and sound and lx cues coming out of the yin-yang.  The kids also wrote all of their own music and lyrics, so naturally we didn't have it all by the time we got to tech   Needless to say, it wasn't the smoothest tech I've ever ran.  But we got through it.

In one of the scenes, I had to call a gunshot cue.  (Man, I hate those!)  With professional actors, you just make sure you have a visual cue to go off of, and everything works out fine.  Well, the guy pulling the trigger wanted to make it a surprise for the audience, so naturally it had to be a surprise for me.  On the last night (it was only a 3 day run) I finally got it right.  (A little background on this kid: he'd been abused by his mother and his sisters treated him like crap.  He was, however, devoted to his older brother, a gang member.  He wasn't a big fan of women, to say the least.  He was also 6' 4" and big as a house.)  More on him later.

I'll never forget the last performance though.  When they came out for the curtain call, they all ran on stage, screaming and yelling, hugging each other and cheering each other on.  The audience wouldn't stop applauding.  The cast screamed for me to come down from the booth, and for the asm's to come out from backstage.  We all went up and as soon as I hit the deck, the kid with the gun came running up to me, hugging me and spinning me around yelling "The f*cking gun shot worked!!" over and over.

For the run, organizations like the Boys and Girls club would bring their own clients who were at risk youth.  One runaway told her councellor after the show that she wanted to call her mom after not speaking to her for 3 or 4 years.  During the curtain call one night, a group of boys who'd come with their councellor kept shouting "F*ckin' A".  Tons of stuff like that happened.

It was absolutely the most rewarding show I've ever worked on in my life.  A few of the kids even got off the street after that and cleaned up, going on to college or finishing high school.  I will never forget it as long as I live.

32

Uploaded Forms / Re: Calling the Show

« on: Jul 24, 2006, 01:00 pm »

Printable running time sheet.  Double-wide column is for Date, first column for time into show, and second column for duration.  I keep it next to me in the booth so I can enter the times as we go.

33

Students and Novice Stage Managers / Re: Calling sound cues

« on: Jul 22, 2006, 03:20 am »

I find it interesting how we talk about sound cues.  For the most part, lighting is 1...2...3...4 etc, but there are so many different ways of calling sound.  I think everyone pretty much has it right in that it's usually up to the designer as to how they're going to number/letter the cues or it'll be up to you and your sound op.  Sometimes the sound op is more of a sound magician than simply an operator.  Sometimes, the sound op is pretty much limited to pressing play when you say "go".   

I guess that ultimately it depends on the sound designer.  One thing that seems to be universal among sound designers though is that they often like to try to make sure a cue ENDS at a particular time.  So they'll try to get you to get a timing of the scene or part of a scene, so that a build can happen in the music and culminate at a particular time in the action.  What they don't seem to understand is that, no matter when I call the start of the cue, the end will happen at a different time each night because the actors are going to follow a slightly different pace each night.  Or am I the only one who's experienced this?

34

Students and Novice Stage Managers / Re: Calling sound cues

« on: Jul 20, 2006, 12:25 pm »

I've called sound cues differently depending on the designer.  Some like to number the in & out as their own cues.  For instance the in would be SQ 3 and the out would be SQ 4.  The rationale for that is they're separate actions (at least that's what I was told), but I don't like that method very much.

Another way is to give the music cues letters after the numbers.  For instance SQ 3 would be the in and SQ 3A would be the out.  That way any cue with a letter after the number could be considered a level change in the music, so if you have several level changes in one piece of music, you could go SQ 3 as the in, SQ 3A as the level change (say it goes up for a scene change), and SQ 3B as the out.  If you keep the numbers the same, you know you're always dealing with one track.

The problem with that method is that cues that play out (where you don't have to call the out) can get confused with ones that you do have to call an out.  So what I'll sometimes do is give a music cue a letter at the beginning.  For instance, SQ 3A is the in, SQ 3B is the level change, and SQ 3C is the out.  That way, we all know from the first call that it's music.  Any cues that simply play out (like a gunshot for instance) is just a number, with no letter.

If you want to continue with using letters for your sound cues, you could still do the same thing but call Sound A1, Sound A2, etc.  It's the same principle.

Yes, it's hard to talk and listen to music at the same time   It's part of the challenge of calling a show.  If possible, I'd see if you can get your hands on the sound cues and listen to them at home, or spend some extra time in the booth practicing (if at all possible).  Time out how long it takes you to say the words before the time in the music when you have to call it.  It's the same when someone is speaking - you have to time out when you're going to start saying "Sound Cue 3A, GO" so that the GO happens when it's supposed to happen.

Hope this helps

35

Students and Novice Stage Managers / Re: Character Breakdown?

« on: Jul 19, 2006, 11:03 am »

I haven't done a page by page breakdown for the show I'm working on because the script is already broken down into French scenes (i.e., new scene when someone enters/exits), so a scene breakdown is perfectly fine for my needs.  I'm uploading the one I've been working with lately.

36

Students and Novice Stage Managers / Re: Actor's Packets

« on: Jul 19, 2006, 10:59 am »

• Company list (cast & designers, etc.)
• Contact List (I usually only print one copy and update it myself, then distribute it the next day)
• Company policies (I'll get one from the Co. manager - if there is one - then add things like whether or not there's a fridge or microwave available, if there's a refreshment fund, emergency exit maps, etc.)
• Scene Breakdown
• Master schedule
• Performance schedule
• Health info sheet with an envelope
• Phone card
• Comp ticket policy (from box office)
• A coloured piece of paper with their name on it to fold it all into

If there are any script revisions (or as in the case of my last two shows, entire new drafts!), I like to hold off until after I've done my little speech about the packages and stuff.  That way I'm not bombarding them with stacks and stacks of paper.  Remember, we're the paperwork fiends, not the actors!  Sometimes it can be pretty daunting to get it all at once.

I also create a production package that includes all of the above as well as:

• initial lighting/sound/props/wardrobe/WB accessories (i.e., if a costume needs a pocket), SFX, etc.  information
• initial production schedule

Only one more thing to add: double sided photocopying!  Saves paper and, again, less paper = less daunting for the actors.

37

Students and Novice Stage Managers / Re: The Ultimate Decision

« on: Jul 11, 2006, 07:57 am »

Wow, some very cool stories.

I started acting (in school) in 5th grade, then more in junior high, in and out of school.  There were no sm opportunities in my high school, even though we did 5 full length shows/year, and a One Act play festival.  Then in my first year out, I ran into my old high school costume designer and asked if she was doing anything and if she needed my help.  So I worked as a Dresser on The Mikado, and a cast member from that was directing a One Act at a local community theatre and asked if I'd like to SM.  I did it and fell in love with it.  Over the next 6 years, I did about 3-5 shows a year at this community theatre, as well as every year at the Edmonton Fringe Festival (one of the largest in North America).  I also did a couple of Equity Co-Ops and independant projects.  Finally I said "screw it" and dropped out of a BA in Economics, took a year off, then did a BFA in Stage Management.  Took a year to save some coin, doing several projects, then moved to Ontario, where I'm FINALLY starting to do my Equity apprenticeship 10 years after SMing my first show.  The way it's going, I'll have my card by this time next year.  Sure, I took a long route to get here, but I wouldn't trade it for a minute.

As a side note, I was updating my resume the other day, and just for fun, decided to list every show I've ever SMed.  Turns out I'm currently working on my 45th show!  My BF and I decided to have a "50th" party when I hit that point!

38

Students and Novice Stage Managers / Re: Giving line notes - a real novice question

« on: Jul 07, 2006, 07:33 am »

One show I did as an ASM, I wasn't very busy, so I could head to the computer for the last half hour of rehearsal and type out their notes.  I wrote the page #, What they said, and What the line actually is, then I hilighted the difference.  The actors LOVED it, but on most shows I simply don't have the time to do it that way.  Usually I have just given the line notes verbally, but definitely prefer to give them something.

I think I'll try the post-it/index card idea

39

SMNetwork Archives / Re: Software that needs to exist!

« on: Jun 27, 2006, 07:49 am »

Mac: As my final project for school, I created a beta version of something that sounds similar.  Mine was set up so that you can do your initial data entry (scene breakdown, cast list, etc), then the locations and types of rehearsals (such as fight rehearsal for one scene and a blocking rehearsal for another scene, including wardrobe fittings).  It could generate the schedule for you, as well as indicate when/where there was a conflict.  I haven't looked at it in a couple of years, but I'd love to get updates on your project if you'd allow, and be happy to share what I've learned.  However, since I'm not a programmer, mine was in Access - the idea being that since it comes with Office, anyone could use it.

kjdiehl: Okay, silly question.  I have the hardest time calculating times in Excel.  I've only recently begun working with macros, so my excel skills are still pretty basic.  If you have any tips, I would love to hear them.

mikejones: My only hesitation with computerized blocking is how quickly can you make changes?  I mean, if the first time around, the actor crosses all the way to the table, but then the next time, he/she only goes 3' towards the table, how easily could you change that if you're using animated blocking?  And what if you miss a move?  I'm not a video camera, so I'm glad that the actors have to do it several times to learn it, otherwise I'd never get it all in my book!  

I've done the whole publishing to a password protected website thing for paperwork in the past too and it was a dream!  Everyone loved it.  But it only worked because everyone, including the actors, were able to get online regularly and with ease.  In the past two years I've done one show where that was the case.  Sigh.  Would love to be able to do it again!

40

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

« on: Jun 25, 2006, 10:35 am »

I've just finished week 1 of rehearsal for an outdoor show.  We got rained out on the first day, and ended up working in three different venues!  We've been doing table talk and mask work all week (it's commedia - sort of) so things haven't been too strenuous yet.  We're lucky because we have a full sized fridge (with freezer!) available to us in a building near the stage, so everyone's been bringing their lunches and munching throughout the day.  I picked up one of those blue water containers that you can get for camping and am keeping it in the fridge.  We have to fill it up using the water fountain, which is a huge pain in the butt, but I don't trust the water from the bathroom taps.

A few things I've learned this week:
- If you're in the sun ALL day, SPF 30 isn't enough.  And keep applying the stuff.  I've been putting it on at least 4 times a day.
- Keep some small heavy rocks handy to use as paperweights. 
- Have a garbage container with a lid.  Those squirrels can get pretty sneaky. (One of them tried to steal my director's backpack!)
- Print the script on grey paper.  Even with sunglasses on, it really helps with the eyestrain.
- Actors like to lose their shoes and curl their toes in the grass.  Stop them.  Especially if it's a public area.  You wouldn't believe the things I've found lying around the grass this week.
- Mornings are a lot more productive than the afternoons.  Try to schedule accordingly.
- Short, frequent breaks.  We start blocking on Monday and my director has agreed to take 5-10 minute breaks every hour rather than 15 min in the middle of the morning.  I think that'll help.
- As much as possible, keep your SM table in the shade.  You've got to look out for yourself as well as your actors!

The one thing I wish I had?  A laptop with a wireless internet connection.  As it is, once everything is struck and locked up at the end of the day, I have to walk 20 min to get to the office so I can start my paperwork. 

We'll see what I learn in week 2....

 

41

SMNetwork Archives / Re: Emergency Forms

« on: Jun 19, 2006, 07:28 am »

Interesting.  Up here in Canada, when we get our deputy package in the mail, Equity sends a Voluntary Emergency Medical Form that we just photocopy and hand out on the first day.  Saves all the legal questions - it came from head office therefore no worries.  Been done that way for years as far as I know (still a bit new to Equity).  I suppose AEA doesn't send something similar?

42

Tools of the Trade / Re: Kit Container

« on: Jun 19, 2006, 07:22 am »

I have often found myself rehearsing shows in several locations, so I've had to make sure my kit never gets bigger than I can carry on the bus.  Believe me, it's forced me to bring only the ESSENTIALS to rehearsals!  In those situations, I don't feel too bad if someone asks for something relatively obscure because generally everyone understands that I'm not a packhorse.  For instance, instead of a box of bandaids, I'll have half a dozen in a ziplock.  Instead of 5 rolls of spike tape, I'll take one or two.  And if you're using many rooms, there's no point in taping out the floor and you usually can't.  I'll take the relative positions of set pieces and spike those out.  On the plus side, in these situations I've never found occasion to use tools.  Sure, I'll have my leatherman, but that's about it.  So I don't need to carry around a lot of the heavy stuff.  I own almost everything in miniature and only take a handful of any one thing at a time. Heck, even the mini sharpies can save a lot of space! 

There are little things you can do to help lighten the load too.  Why take 50 pencils if you have a cast of 6?  Why a giant box of kleenex when a smaller, square box will do nicely?  Another thing I do is take items out of their packages and put them in ziplocks if necessary.  The packaging can take up a lot of room - sometimes being larger than the item itself!

During prep week, I'll try to find a cupboard/store room (a secure one!) that I can use to house larger stuff that I'm probably not going to need on a regular basis.  Making friends with the janitorial and maintenance staff is always a good thing.  And when we move into the theatre, I certainly make a special trip with a friend with a car to get all my gear down there.

I also change the contents of my kit slightly with every show.  If we're going to have wardrobe items in rehearsal, I'll take my sewing kit, but if not, I won't.  Not that a sewing kit might not come in handy, but I can play the "I might need it so I'll bring it" game until the cows come home and my back is broken.

Yeah, not having a car can be a real pain, but look on the bright side: at least I don't have to lift weights to get my exercise! 

43

SMNetwork Archives / Re: The new SMnetwork

« on: Jun 18, 2006, 10:42 am »

It's looking great so far.  I'm looking forward to exploring.

Gotta say that I LOVE the applaud/smite terms.  They make me laugh.

Whoo hoo - and some awesome message functions too.  Great job!

44

Students and Novice Stage Managers / Stage Managers & Computers

« on: Jun 15, 2006, 01:33 pm »

I've never had a laptop, but am planning on getting one soon, so I've never had the luxury of using one in rehearsals.

While I'd LOVE to be able to email everybody all the schedules and daily communications, a lot of the time I find myself working with artists (especially older ones) who just aren't that comfortable with computers.  They may have an email address, but never check it.  Or, if someone's coming in from out of town, they may not have access to a computer/internet.

Of course, I keep a copy of EVERYTHING in my book.  I agree with what megf said: for some reason it just instills more confidence in you as an SM if you flip to a portion of your book to find some piece of information, rather than through files on the computer.  I think part of the reason might be that MANY people are terrible at organizing digital files, so they imagine their filing system on your computer. Yikes!

Just my 2 cents.

45

Students and Novice Stage Managers / Need help with writting SM resume

« on: Jun 01, 2006, 02:49 pm »

TechGal - as long as you're signed in, just go to the main page and there's a notice right near the top centre.  You can't miss it.  Then just type in that login id and password and it should take you there.  The resume browser link is in the left column under the heading "Jobs & Ads"