Messages

301

Stage Management: Other / Re: Swing Rotations Between Multiple Venues

« on: Nov 11, 2013, 01:28 pm »

See, this is why computer programs are less valuable than pencil, paper and common sense. Just build a grid/spreadsheet with the time frames you need, then play jigsaw puzzle and you will be done!

(Maribeth's system is basically just that)

302

The Green Room / Re: Stage Management Day in the UK

« on: Oct 11, 2013, 03:39 pm »

I heard on FB about some shows knowing and celebrating their SMs, and others not knowing or doing nothing - my cast didn't know, nor acted on it, but I think we need to make a concerted group effort to make this an American event as well, and let everyone know.....starting now!

303

The Hardline / Re: Employee-Handbook Required Preshow Calls (and more)

« on: Oct 10, 2013, 08:28 pm »

Wow - 30. 15, 5 and places are standard everywhere I've worked - in fact, I had one actor (who came from 99-seat) who insisted on a 10 call, and the other actors told him to shut it, they needed their peace and quiet for 10 minutes before the 5/places calls. (Plus, in smaller contract houses, we are often too busy to do those extra calls).

And, there are AEA rules in place that allow the producer to dock an AEA member who is late to call (I have seen them but not in a long time, will find the cite after we finish opening weekend), but I have rarely seen it invoked.

304

The Green Room / Re: From staff to stardom: a former moderator blogs for RSC

« on: Oct 09, 2013, 01:05 pm »

I just posted same in self-promotion! Will go back in and delete - but this is too too cool. Congrats to her, and UK folks might want to welcome her with a gather -

305

The Hardline / Re: SPT Previews

« on: Oct 05, 2013, 12:58 am »

It's simple. If your audience has paid for their tickets, it counts. If it is a rehearsal with a handful of invited folks who didn't pay, it's a rehearsal. That's the bottom line.

306

The Hardline / Re: SPT Previews

« on: Oct 04, 2013, 01:05 am »

I work SPT a lot. A paid public performance is just that - preview or regular show. It qualifies for additional pay if you go over your contracted limit.

And you need to tote up the weekly hours to make sure your afternoon tweak sessions or after-preview notes don't take you over the weekly max. Show times from half-hour to curtain down.

307

Stage Management: Plays & Musicals / Re: PRE-PRODUCTION: Alternative to Taping Floors

« on: Sep 14, 2013, 08:44 pm »

Because this is a school, you may have supplies, in which case string and/or a tarp/canvas over the floor is great, but I have also used sidewalk chalk to great success for situations where other options or supplies didn't exist.

308

Students and Novice Stage Managers / Re: Dealing with Panic Situations

« on: Sep 06, 2013, 12:30 pm »

Word.

Our job is unnecessary if nothing untoward or unplanned ever happens. We are there - as is the ASM - to be calm cool and collected no matter what's happening, to think outside the box and find creative solutions, to plan for everything and also be able to deal constructively with those things you couldn't possibly have planned for.

Some of my favorite memories are fixes on the fly, events where we didn't know what has happening next, when boards or computers crashed or we had to invent work-arounds. And, almost always, the show must go on, in which case all this must be done without the audience being aware.

It is truly a challenge, but this is what so many of us love - even if no one knows or acknowledges!

309

Stage Management: Plays & Musicals / Re: Turning in the Prompt Book to the Producer

« on: Sep 05, 2013, 09:10 pm »

oohhh you are working on When You Wish - sounds like a ... challenging project, but you have some great folks - Lee is the very very best, and I know some other terrific folks working with you  - good luck.

310

The Hardline / Re: Director Notes

« on: Sep 01, 2013, 07:28 pm »

FWIW, I've had actors who request me to text them when the director arrives or goes backstage, so they can go into their dressing rooms and lock doors. Cuz some directors just don't get it.....

311

Stage Management: Plays & Musicals / Re: MORALE: tech relief

« on: Aug 29, 2013, 08:16 pm »

there was a huge discussion some time back on this topic - does anyone remember what it was called? But - use the search function, there were some great ideas and fun perspectives....

312

Stage Management: Plays & Musicals / Re: Turning in the Prompt Book to the Producer

« on: Aug 28, 2013, 08:41 pm »

Was this a new producer, or a producer new to the theater? If it's the Falcon in LA, he may not have known that they keep archive scripts until asked for them.

313

Stage Management: Plays & Musicals / Re: Turning in the Prompt Book to the Producer

« on: Aug 28, 2013, 07:30 pm »

Producer is due everything, including script, ground plan, costume, light and sound plot, contact sheets etc. I used to include all reh/perf reports but now since all is emailed, I no longer print out unless specifically directed to do so. I have worked w one LD who doesn't allow his plot to be included (he was screwed by a company once, so he no longer lets any company hold on to his plot) but otherwise, yup, producer is entitled to everything. Since I make two copies of the script - calling script and blocking script - so usually I keep one or the other, but if they wanted both I would make a digital or separate hard copy for my own files.

314

Stage Management: Plays & Musicals / Re: Calling Vs. Board Operation

« on: Aug 27, 2013, 08:15 pm »

On a big tour I did many years ago, the ME called the spot cues on a separate channel, while I called lights, rail, sound, FX and other cues on the main one. And on some complex shows with lots of spot and light cues, once the spots know their cues I'll give them a standby and let them fly on their own. But that's the exception, when it's a sitting show and I know the spot ops well.

However, I understand in some countries board ops take their own cues so it does happen.

315

Stage Management: Plays & Musicals / Re: Calling Vs. Board Operation

« on: Aug 27, 2013, 12:30 am »

there are several theatres where called sound cues would be late for the action - for ex, on phone rings, I tell sound to take the pick-up on a visual.