Messages

331

Stage Management: Plays & Musicals / What do you do with a fidgety assistant?

« on: Sep 27, 2005, 10:54 am »

Ooh.  I like the mousepad/pencil idea.  Will have to try it if I come across the situation again.  I did talk to that assistant about it, and she did get better, but definitely one of the things she needs to work on.

Erin

332

Stage Management: Plays & Musicals / Scary Directors

« on: Aug 18, 2005, 09:19 am »

I've never worked with Anne, but did see an awesome production of Hay Fever that she directed in Louisville.  And no, I never thought I'd put "awesome" in the same sentence as Hay Fever!  My friend and I didn't leave during the intermissions as we were fascinated that every single part/hand movement of the shift was choreographed to music (and executed by acting interns).

If she's still working with the set designer that I think she used to, though, I'll give you one caveat....every show I did with him (Anne was not involved), he neglected to think about how the actors get from the dressing room to the stage...we had to add masking flats both times!

Erin

333

Stage Management: Plays & Musicals / Sign Language

« on: Jun 28, 2005, 10:26 am »

Have always wondered about it myself, but only know a few signs beyond the alphabet.  Helped greatly though at my cousin's wedding (bride and groom and several guests were deaf).

That said, I LOVED the last version of BIG RIVER with the half-deaf/half-hearing cast.  Beautiful, beautiful, beautiful.  Especially the 2 moments when they used the non-hearing people's own voices to get a point a cross.  Poignant.

And signed performances of any show I do are often my favorite, especially if I'm calling from the booth and can view most of it!  

I know this really doesn't answer your question, just wanted to share.

Erin

334

Stage Management: Plays & Musicals / PEOPLE: What do you do with a fidgety assistant?

« on: Jun 26, 2005, 01:29 am »

So the current show I'm working on has a director who REALLY needs it quiet in the room.  Sometimes he seems to get thrown off just by the scratch of a pencil as my assistant and I write notes (as we've been very much chastised about ANY whispering - and trust me, this is not my first time in a rehearsal hall).  Anyway, the ASM fidgets.  Big time.  For a while I can keep her occupied with a squishy stress ball thing I have...and sometimes even just try to get her to bounce the OTHER leg (the one farthest away from anyone else).  

Anyone have any suggestions?  I think this is something you learn to control over time...

Erin

335

SMNetwork Archives / Emergency Forms

« on: May 04, 2005, 11:14 pm »

I too use an emergency info sheet.  I take it a little further than some folks, and make it a 2 page document with a heck of a lot of information on it.  I ask if they have a car they've brought and the license plate number.  I ask them to list any PRE-PLANNED conflicts agreed to in contract with the theatre (this has saved both mine and the producer's butt before),  As for actual medical, I include what dietary restrictions (including vegetarian - so if theatre has to provide food you already know); emergency contact person and their relation; health insurance company, group mumber, and policy number; a general line saying "Please list any medical problems, conditions, or concerns a doctor should be aware of when treating you"; and another of "Do you have any significant medical history?  If so, please describe,;" and ask if they wear contact lenses or corrective lenses of any kind.  Final line of document is "ALL INFORMATION IN THIS SHEET WILL BE KEPT CONFIDENTIAL.  THE INFORMATION IS NECESSARY IN THE EVENT OF A MEDICAL OR PERSONAL EMERGENCY SHOULD YOU NEED TREATMENT WHILE WORKING AT INSERT NAME HERE THEATRE."

Erin

336

Employment / SMs in other roles

« on: May 04, 2005, 10:53 pm »

I like the fact that I have had experience in the past in several areas, and that it gives me a feeling for what is needed of me by other departments, as well as helping facilitate things in an emergency, etc.  But at this point, I am glad to be union so that I don't HAVE to do those things, and can concentrate primarily on the stage management aspect.  On those rare occasions where I have extra time and feel nice, I have helped out on occasion, but generally I'm still working much longer on paperwork (let alone often still in rehearsal) than other folks who go home at 5 or 6 o'clock.  Granted, they're in at 8 a.m., but I like my sleep at that point if possible.  Just my two cents.

Erin

337

Stage Management: Plays & Musicals / new play!

« on: May 02, 2005, 05:28 pm »

Well, first of all, good luck.  Having a director with any other hat as well always has its challenges!

As for rewrites...I'd find out if you are to be the one in charge of keeping the script updated, or if he or someone else is (though it's more work, I'd be tempted take it on in the stage mgmt dept, so you're sure it's getting done).  I do several things in my script...any time there's a change that you write in, write a date in the margins so if there's a question you can say when it happened.  And if it's reinstated (cut once, but then decided to put it back in), I write that too, and both dates.  Keep a separate script handy that is the master script with all changes, so you can make copies if needed for someone, or someone else can grab and see if they got them all, etc.  And best one to prompt from if you have an assistant, etc.  

I also keep an Excel file table going of script changes, particularly little oneliners.  It often gets frustrating (both for those doing it, as well as those receiving) to make new script pages for every single script change...you can then pass out or post or email this chart to folks, who can fill in their own changes in scripts.  And if it's major, of course new pages are good...I often end up with something like "Page 75B" if your new stuff is bigger than the old one.  And of course put the date on any new page, for clarification.  As for the Excel file, I'll list columns of page number, change (with words like cut, add, substitute, or change order in this column to describe what's happening differently), and then the line, starting with the character's name in all caps.  If something is cut, I'll use the strikethrough font feature, if it's added or changed I'll both underline and bold it.  I used to have a separate column for character who said the line, but if you just put it in the line section, it's easier to use when you change the order of several characters' lines.  I can email you a version for clarification if you like.  OH, and if you don't know about the shortcut in Excel, if you hold down "Alt" while you hit "Enter", you can add a hard paragraph break within a cell.  Very handy.  I know there's something similar for Macs...

If you have sign interpreters, don't forget to give them the information too!

Hope this helps,
Erin

338

Stage Management: Plays & Musicals / Backstage or Booth?

« on: Apr 22, 2005, 10:54 am »

I sm in a community theatre. My board of directors actually wanted to tell me that I couldn't call a show from the booth. They had never had a sm call from up there. All of their sm called from backstage. They did not understand how I could "control the actors" and make sure everyone got onstage in time if I wasn't back stage.

I actually came from a community theatre so "low budget" or low skilled or whatever, that we didn't really even have stage managers...and if we did have them at all, they WERE the person backstage, and the lighting and sound folks took the cues on their own.  I didn't really know what a stage manager did until college, when I eventually switched majors.  My line is that I was always the actor who said "Remember, guys, this is when we all need our suitcases."  So I can understand a board of directors having no clue.  That said, it sounds like you might be on your way to educating them...especially if you do have an ASM you can entrust.  Hang in there and best of luck forging ahead.

Erin

Erin

339

The Hardline / AEA or IA?

« on: Apr 11, 2005, 01:54 pm »

I haven't responded yet on this topic, because I'm not really sure how I feel.  I joined Equity to protect me from certain things I had to do as an intern, etc....but there are times when the union does feel so weak, especially in regards to stage managers.  I have tried to take an active role  - I'm currently on a liaison committee to Equity (but am one of the most active in the committee and still feel we do nothing...and I haven't lived here all that long and feel I can't immerse myself in the community to know enough to help, but I try by being the best secretary for it I can!).  I also try to be quite involved in SMA, providing Operation Observations when I can, trying to network with others if they come through town, and trying to talk to a lot of stage managers, both more and less experienced than myself.  And yes, I do fill out those "do you have any suggestions" forms that Equity provides.  

One of my biggest complaints with Equity right now, as far as rules, regards the use of assistants.  I was amazed to find out that it is a requirement in the SPT contract to have an assistant...but for LORT C, even with a cast of 35 on a fairly complex show, if it's not musical, I'm not required to have an assistant.  And that's just insane.  I managed at that point to have convinced my boss of the usefulness, but now she and I both are no longer at that theatre.  SPTs often can't do very big shows, either cast or scenic, and yet they've figured out the needs of an assistant (granted, this person often is your entire run crew as well, but at least they've been there for rehearsals too).  

Perhaps if enough of us keep putting in stage management concerns and getting our thoughts out there, something may come to our advantage in Equity, but it certainly feels to me like we're small fish in a very big pond.  But don't know that IA or our own union would be of any help...we're probably in the best situation under the circumstances.  And with the state of health insurance these days, even Equity admits that's their main concern with negotiations (I'm thinking Production and LORT recent talks) and try not to put any many other demands on producers besides that for now.

Hopefully we'll see a rise in theatre again after this current slump.  Try to stay active and be heard, I agree.  We'll all get through this.

Erin

340

The Hardline / Anyone here AGVA?

« on: Apr 11, 2005, 12:22 am »

Is anyone here a member of AGVA (I believe it stands for American Guild of Variety Artists)?  I work on a show that requires AGVA performers, but not stage managers...I've heard that if we ever went union we'd be paid less, but I'm wondering just how true that would be and what the going rates are...I am Equity, but was told (years ago, and admit I never checked) that it was okay for me to take the job since not under Equity jurisdiction.

If anyone is AGVA, please private message me so I can fire a few questions at you!

Erin

341

Tools of the Trade / stopwatches?

« on: Apr 06, 2005, 02:22 am »

Okay, so does anyone have a brand name and/or model for this perfect stopwatch that doesn't beep?  Seems everywhere I go they're in plastic boxes and impossible to really test.  I have lucked out lately with ones that are fairly quiet even though they do beep, so it hasn't been terrible.

I also tend to use the stopwatch in moments where the beep doesn't really matter.  For rehearsals I'll use it to start the breaks so I can keep an eye.  But as for timing actual things in the show, I make up a run sheet where I start the stopwatch at zero for a runthrough, then put a running countdown on an Excel document of every thing that happens.  Can be a little intense during a runthrough, but I've done it so much I've got really good at multitasking with this (or writing it in script and putting in the document later).  If possible, I time every single entrance and exit, scene shift, and if it's a show with not too many cues, I'll also take the timing each sound cue or major thing happens.  This way I have all sorts of things that I can later do the math on (actress exits at 5:10 and re-enters at 15:20 so therefore has 10 minutes and 10 seconds to change).  You never know exactly what someone will want to know the length of, let alone if your board op wants to know if he has time to pee.  

The most amazing use I had of this once was when an actress playing Ophelia in Rosencrantz and Guildenstern are Dead went into an asthma episode....I worked directly with the EMTs on the scene...they gave me certain parameters they needed (so much time to give her the shot, so much time for her to sit still, so much time she'd be fine again, etc) and with them and the stage manager (I was assisting at the time) we figured out which scenes she could do, which she could be cut from, and ultimately how to administer the medication by EMT (they were the ones who said she'd be okay to keep performing).  Strange but true.  And the audience never knew.

Erin

342

Stage Management: Plays & Musicals / Intro's and Question's :)

« on: Apr 03, 2005, 04:58 pm »

I don't feel I can really answer this question, as the closest I've worked a "devised" production is when you're working on a world premiere play.  I will say that in dealing with those, it's important to keep everyone up-to-date on the latest script changes, but how you do it varies....I will often print new pages for the stage management staff, especially if fairly intense I'll give to everyone...but generally I make an Excel document listing page number, character, action (i.e., cut/add/change/re-order), and then the line (with strikethrough font if needed, bold and underline for changes/additions).  Most people find it very understandable.  

I just finished watching Moon Over Broadway, the documentary about production of the Broadway show Moon Over Buffalo and the actors complained about getting an entire new piece of paper every time there was a single line change.  Phillip Bosco kept all his old sheets and evidently had quite the pile at the end.

Erin

343

Stage Management: Plays & Musicals / how do you get their attention?

« on: Apr 03, 2005, 03:07 pm »

do actors get more mature about being on time and focusing as they get older?

In my experience, yes and no......at least you do have the option/threat of reporting them to their union if it gets really out of hand...

Erin

344

Stage Management: Plays & Musicals / Backstage or Booth?

« on: Mar 30, 2005, 10:05 am »

( I dunno - is it worse to see your incompetent ASM in action  ?)

It's at least VERY frustrating and distracting!!!  

Erin

345

Stage Management: Plays & Musicals / Backstage or Booth?

« on: Mar 30, 2005, 01:53 am »

Well, I've called from both, and yes, it's a lot easier to call from a booth if you have good communication and rapport with the folks backstage.  I've only called from backstage on a show that was so large and complex and all about scene shifts, that you somewhat needed to call from backstage when things were clear enough to call the next cue.  However, it made calling light cues rather strange, as you had to learn to do it off a somewhat washed-out tv monitor and never could see the full stage version.  But you could look in one wing most of the time, too.  It is handy to be "right there" to make some judgements, but also can be difficult to get a true sense of the show.  And the calling desk was on wheels and had to be moved aside for some larger scenery occasionally...

When I work in regional theatre, if asked I've always said I'd like to call from the booth - especially if there are walls in the set it makes no sense to me to call from backstage if the only true view I can have is from the booth (i.e., the set is a house with walls).  And yes, communication with an assistant backstage is vital to this set-up.  One of the hardest things to figure out is when actors have cleared or are set for a black-out...in those cases I either ask my assistants for "clear" or "set" or in the best of situations you can get an infrared monitor.

The strangest way I ever called a show was from a booth (me, sound, and light operators all in there) that was situated above and behind the stage, with only a washed out black and white monitor to try to find actors who improvised and wore muted neutral colors against a cyc.  That was FUN trying to follow the actor's leg (the rest of his body was washed out on the screen) and anticipate when he was stepping off a platform...especially when he started tapping his foot and shifting back and forth...

And a truly fun one was done in a black box theatre, and the show's setting was someone's back yard....behind the audience seating they built another building facade, and we looked through the scrim windows as the Peeping Toms next door as our booth!

Erin