Messages

316

The Hardline / Re: Union Membership not required under AEA Contract?

« on: Jun 30, 2011, 02:09 pm »

I recently did a staged reading under a LORT B contract. The ratio required was 11 AEA contracts for 1 non-AEA contract. The cast was 10 and I made 11, but one of the actors was non-Eq and did not want to join. Since the reading required some stage directions to be read, and the director did not want the cast to do it, the Company Manager came on as the Stage Directions, under the non-AEA contract. In order to do that, the non-Eq actor was put on an AEA contract, to get us up to 11 AEA contracts. The actor was paid the appropriate actor wage, had working dues withheld, etc - though she will not benefit from the health weeks, since she's not a member.

I had a similar situation where I did another staged reading that was recorded for broadcast - which made the performance fall under AEA & AFTRA. I signed an AFTRA contract, was paid the AFTRA wage for the recording, though I did not join the union.

So perhaps it is common, in certain situations.

317

Students and Novice Stage Managers / Re: Blocking Script vs Calling Script

« on: Jun 28, 2011, 02:15 pm »

I've been using stickies/post-its for over a decade, and I've never   "lost" a Q, nor really worried that I might.  Remember, when you're   moving your script around, it's probably closed, not pages flapping in   the breeze.

During an interview for a SM Internship (back in 2002), the PSM was looking through my calling script for my most recent college production. She then lifted a post-it flag and dropped it to the floor and said, "Now where does that cue go?" It really hit me that I could lose a cue at any time - and I immediately switched to writing in my cues from then on. Thankfully, I had recently closed that show, so at least she didn't mess up my book too bad, but it did make a point. For those of us that like to crawl all the way to the window of our booth, or may lean far over our books to see over the console at the stage - we do run the risk of brushing against the post-it flags and moving a cue.

Though yes, I will admit, it is a royal pain in the arse to shift an entire cue sequence during tech via pencil - especially if you're working outdoors and your pages have gotten soft with the moisture in the air. But we all do what works best for us. I knew a girl in college who used post-it flags, but then put every page of her script into the plastic sheet protectors. I felt that was a bit too extreme for me, and seemed to be an incredible waste of sheet protectors.

318

Students and Novice Stage Managers / Re: Shadowing: General Q&A

« on: Jun 22, 2011, 12:08 am »

Kate -

You can ask to shadow any PSM on any show, it doesn't have to be a tour. Most young SMs ask to shadow a PSM or calling SM during a performance, because that they are most interested in - calling. Depending on the complexity of the show, shadowing the PSM in the booth is the safest place to be and helps with any liability issues of having extra people backstage during a performance.

At the ballet, based on the show, I offer young SMs the opportunity to shadow myself, my ASM, board & spot ops and other department heads (with their permission). Though it does vary greatly on the show, as for some it's just too dangerous, or in some instances (with a fixed/lack of set) too boring.

319

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: cell phones onstage

« on: Jun 21, 2011, 08:52 pm »

Yeah, I don't like doing it either but sometimes I feel like I have no   other viable choice due to the layout/setup of the theatre and the   inability to communicate with backstage and/or the pit.

Not trying to stray too much from the topic of cell phones - but as Matthew said, Cell phones aren't always reliable....

Perhaps it's time to invest in some walkie-talkies. I bought a pair back in 2000 or so and still use them to this day. I've used them on family road trips (caravan style - cheaper and more reliable than cell phones - with a 2 mile range), inside theaters where cell phones don't work (granted, my shows don't have wireless mics), outdoor theaters when the belt packs crapped out during tech, etc. Even though it was a major investment for me at the time, they have been a Godsend in a number of situations.

When talking to my House Managers, granted - I am working with Union staff, but even with non-union staff, we use walkie talkies. When I receive the House from the House Manager, I turn my talkie off, then turn it back on at Intermission. And though I've never purchased them, you can get a ear bud/mic attachment for each one. This is a helpful item to have in your kit - or perhaps you can recommend to the theater to invest in a set and some chargers. Can't hurt to ask.

Also - once you get past the initial investment, then you're not wasting your minutes or texts to perform work. I only get a limited number of texts per month, and I HATE receiving a text from someone during a performance when they could just as easily talk over headset - or via walkie talkie. My company doesn't pay for my cell phone, I do.

320

Stage Management: Plays & Musicals / Re: Harmful line-throughs?

« on: Jun 20, 2011, 11:07 am »

That's why I felt a little weird putting actor notes in there like the   lines were sloppy - I guess because it feels like "tattling" on the   actors behind their backs.

Aside from reporting on technical issues, audience response, etc - a performance report reports on the performance as a whole. I consider my reports to be "what was different from Opening." If everything on show 10 runs just like show 1, then I consider it to be a good show. If suddenly on show 6 actors are adlibbing like crazy, jumping major sections of dialogue that affects a cue sequence, or someone ads a bit of silly gesture/dance to a scene that was never there on show 1, it goes into the report - because it is different from what was set on Opening by the director. I may not break down into the report each individual adlib/line multilation, but I will comment on the Scene/Page and give a rough explanation of what happened.

Minor line drops/rephrasing are a given, as long as the original intent of the script is still relayed it doesn't go in the report - it just results in line notes in an envelope, to be given out at the top of half hour for the next performance. I'm like you - I can't get to the actors fast enough after the show, and I don't feel it's fair to hold them until I can get backstage post show.

However, I have had actors repeatedly tell me that they don't like not   seeing me when we are in performance (vs. seeing me all the time in   rehearsal).

Ok, maybe this is just me, but this sounds really odd. Perhaps it's the theater you're in, that maybe the actors don't see you after Opening and they get used to seeing you only when there's a problem - and it becomes a Pavlov kind of situation. ["Oh no, there's the SM - what's wrong NOW?"] The only way to remedy that is to be backstage, say hello to everyone at the top of the Half Hour call, and be seen - preferably in a positive way. Granted, it sounds like you've got a lot going on, but once you do all of your preshow checks, you should find a way to be backstage until 10 or 5 til curtain. Sometimes just sitting in the Green Room, chatting with actors, helping with the preset, something positive. You need to keep your relationship good with the actors, make it clear that your presence isn't always Notes or Fixing Technical Issues. So once you do have to give notes, or fix things, people won't be jarred by your presence.

I hope that helps for your next show.

321

The Green Room / Re: TEAM BUILDING - Part One - The Assistant

« on: Jun 17, 2011, 11:55 am »

Taking the angle of ScooterSM - complementing each other. While working at the ballet for the past 8 years, the SM team has always been a "Mom & Dad" situation. So far, I've always been the "Mom" role - a bit softer, more loving, but I still stand by what "Dad" says. While I was the ASM, the PSM was always male, and was able to fill the "Dad" role really well - being the heavy and coming down on the dancers when it was necessary.

When I got promoted to PSM, my ASM was female, and she assumed the "Dad" role. It works out well. Someone has to be the heavy, and someone has to be the caring one, but both stand for the same rules.

322

Stage Management: Plays & Musicals / Re: Harmful line-throughs?

« on: Jun 17, 2011, 11:11 am »

It is the SM's task of upholding the artistic integrity of the show and the script. You should give notes prior to the show. Even if there are only 3 performances left, the show is entitled to be the same quality of show it was on opening night.

I am not that comfortable with putting my foot down either, but I write notes, put them in sealed envelopes and hand deliver each one. Granted, this does not guarantee that the actors will read them, but at least you gave out the information. Since they are all female, it may need to come down to you doing 1 of 2 things.

1) Speak to the group of women in the dressing room, saying that you were interested in their Italian/Speed Through the other night. However, you noticed several line adds that you're pretty sure weren't in the script, and you've been noticing a lot of line drops/adds/jumping during the performance. It's making the production unclear to the audience, as well as making it difficult for you to call the show properly. You want them to have the best show possible, and in order to do that, they need to follow the script. Then ask them to review the script. [It would be ideal if you can cite specific scenes and don't say "You're messing it ALL up!"]

2) Speak to the group of women in the dressing room and offer to be on book for their Italian/Speed Through after that performance (or depending on how early you are all there, offer to do it as they get into costume). Then stop them on every error.

323

The Green Room / Re: TEAM BUILDING - Part One - The Assistant

« on: Jun 17, 2011, 11:02 am »

Aside from the skills that are necessary to do the job, I look for:

1. Ability to manage themselves on a task
2. Ability to follow complex/multi-step directions for a task
3. Communication skills
4. Proper etiquette with theater staff/crew
5. Must be compatible with me

All of these things describe my current ASM - and as I work with others, I realize just how important #5 truly is to me. I don't need to be BFF's with my ASM, but being able to talk about things other than work, laugh with each other, and be genuinely interested in each other is very helpful for a positive working relationship.

324

Stage Management: Plays & Musicals / Re: Onstage as an SM

« on: Jun 17, 2011, 10:58 am »

I've done that once - though it was a Community Theater show of Damn Yankees. I was Miss Westin, which is a small role in the Talent Show scene. I did call the rail cues during the scene while onstage, which felt strange. I was also in a few musical numbers, so I had an ASM call any cues during those songs which I was onstage. At that point in my career, I was still a bit more interested in being a performer than SM'ing.

Other than that, I've been the "technician" for a ballet that comes and goes onstage, but I was the ASM at the time. The choreographer originally asked for the PSM to do the part, but he refused. He did not want to be onstage calling cues, he preferred to do that from his console.

Granted, both times I've been onstage, it wasn't for the entire show, and I could still do my regular SM work. However, having an SM onstage calling the show, yet involved in the action (acting) doesn't help you see the overall production. Are you onstage all the time? From where the director has blocked you to be, can you even see everything you need to see to call your cues? If there is trouble backstage, can you facilitate it by talking on headset to the crew? I assume you'll be wearing a headset to call the cues from the stage - is the director aware that you will be talking onstage during the performance? In AEA rules, the SM (and sometimes the 1st ASM) are not allowed to perform or understudy in the production they are SM'ing. Also, the SM must be in communication with backstage at all times - is this something you can rely on your crew for? Is your crew reliable? It could be worthwhile to ask for an ASM. If you are definitely going to be onstage and there's no way around it, then you need a dedicated assistant to be your eyes and ears backstage.

Post Merge: Jun 17, 2011, 11:56 amOr, if you're really uncomfortable being onstage, say so - you were hired to SM, not to be an actor. I'm sure there are a ton of actors in your area that would kill to be onstage, even if it is a non-speaking role.

325

The Green Room / Re: LINKS: Simple desktops

« on: Jun 14, 2011, 01:53 pm »

Thanks, Matthew! I'm digging on "Memories"

326

Students and Novice Stage Managers / Re: Re: PROMPT BOOK: Gratuitious Paperwork

« on: Jun 13, 2011, 11:18 am »

BlueRidgeSM - Check out the Uploaded Forms section of this website to see the forms in greater detail. Depending on the type of show, most SMs get a Prep Week before rehearsals start, which is when a lot of this paperwork is generated, aside from prepping your rehearsal space/taping out/etc.

Depending on the director, at least from my experience, they like it when SMs make suggestions for the next day's schedule. To do this, I create a Character/Scene breakdown. [There are a lot of formats for this, which can also be used to help generate a Costume Change Plot (especially when performing Shakespeare and everyone is performing at least 2 roles), among others.] From that C/S Breakdown, I compare it to my Show Calendar, on which I list all actor conflicts, the availability of Dialect/Vocal Coaches, special events [like publicity photos], the Fight Director's schedule, etc. With all of that info on 2 sheets, I can suggest the best selection of scenes to work for the next day.

A lot of times, the acting company will want a copy of the C/S Breakdown, and I tend to generate one that is more actor-friendly that the typical Excel file that most SMs use. Other prep paperwork, aside from the Contact Sheet and Rehearsal & Performance Report templates, are generating Daily Schedule Templates, a Prop List, Preset Template, Run Sheet Template, Line Note Template, Sign in Sheets, Show Calendars, etc. If you check the link above, there's even a link called Preproduction Forms.

That's skimming the surface, as there are more forms out there, but I find it depends on your show as to what forms you actually need. Though a Prop List, Preset, Run Sheet, C/S Breakdown are necessary for every show - aside from your usual Contact Sheet, Calendar, Daily Schedule, Rehearsal Report, Performance Report templates.

327

Students and Novice Stage Managers / Re: House is Open or Closed?

« on: May 04, 2011, 11:46 pm »

Same here. House is open refers to the doors being open and people entering. I've never heard otherwise. Your run crew friend may have heard the term from someone else who was just using it incorrectly. I've actually never even heard of House is Closed. I've heard of Rehearsals being closed - perhaps they were confusing the two?

328

The Green Room / Re: Trivia Tournament III - 2.0.11

« on: May 04, 2011, 05:52 pm »

All I can say about today is "ouch"...  The theatre category will be the death of me... :-)

I agree. I'm not a SM of musicals...and I totally bombed on this one.

329

Tools of the Trade / Re: [FAQ] Electronic Prompt Copies

« on: May 01, 2011, 03:12 pm »

With the new Office the default line is thick and weird and I am having a hard time figuring out how to adjust it ... and when I try callouts it seems hard to put exact placement.  Am I just not figuring out an easy way to do it as I'm new to this version of software and tired from my tech/preview period?  Any suggestions on an easy way to type this sucker up?

Personally, I used lines when I teched in pencil. When I tried the electronic script, I switched to color codes. I have a legend in the front of my book that explains each color (Yellow = Electrics, Blue = Sound, Green = Electrics & Sound Together, etc). I put my cues in text boxes on the side of the page, then put the highlight the text in the appropriate color code where the cue belongs. Granted, I'm still using the old version of Office, but it's worked out really well for me.

When using the electronic prompt during tech, I actually revert to pencil and paper. I prepare my script as much as possible, then I print it all out. During tech I use my color codes again, but with see through dots, and after tech is over, I update whatever pages need it, then reprint those pages for the next day. I do not call off my computer, for fear of power loss, computer crashing, etc. So it's not a waste to print the pages, at least for me.

330

Stage Management: Plays & Musicals / Re: 2 Shows in Repertoire

« on: May 01, 2011, 01:23 am »

I've done this once - I treated my rep pieces as two separate productions, and I kept two   completely different books. We did use the same set (at least most of   the pieces) and our light plot was the same. Since you're sharing the set and light plot, that should help you immensely. What should be kept in your mind are the props and costumes - which I assume will be different. At least, they were in my experience.

Due to space limitations, we couldn't have both shows worth of props sitting out at the same time (and for those overlapping actors, it would only confuse them to see last night's props), so we made a plan. We labeled the 1st show directly onto the prop tables/cabinets. When it was time for the 2nd show, we would store all of show 1's props into boxes labeled for each area and put them away in the trap room. Then we put down a rubber shelf liner that had the show 2 prop table layout taped on it, onto the tables and in the cabinets, then put out show 2's props. (You could also do this with butcher paper.) Then we'd put all of the shelf liners and show 2 props away when it was time to go back to Show 1. Worked out well for us.

As far as the costumes, due to the size of the casts and the space available, show 1 couldn't exactly be put away, but we made best efforts to set those items out of the way, so that show 2 had room. Depending on how dressing rooms are laid out, actors need to be warned that the space is shared (only those overlapping would not have to worry about this), so show 1 may need to store their makeup/personal items out of the way, so that the actors for show 2 have room to get ready. And vise-versa.

I hope this is somewhat helpful. Best of luck to you!