Messages

331

Stage Management: Plays & Musicals / Re: Get it out of my head!

« on: Aug 16, 2008, 12:52 pm »

Thanks for your ideas, folks. 
The nature CD's unfortunately won't work.  I need something with a...pattern, for lack of a better word, to overide the rhythm of the music in my head: speech or music.  And, they "freak out" my husband (I have no idea why, and I don't ask).
I tried a guided meditation to get to sleep, and it did help: I passed flat out!  The show music was still there the second I woke up in the middle of the night, but at least I got a few hours worth.  Good idea.  Maybe I need a new pillow or something to help me stay asleep all night.  I might consider a sleep aid if it starts affecting my work.

I've also had some success forcing other music in my head at other times in the day.  Other musicals seem to work best.  "Steps of the Palace" from Into the Woods repalced "Jesus Called me on my Cell Phone" for a few hours last night, which was a pleasant change.

I don't mind so much music looping in my head in general.  I just don't want to "hear" the same stuff that I just heard for 7 hours of rehearsal earlier in the day!

332

Stage Management: Plays & Musicals / MUSICALS: Get it out of my head!

« on: Aug 15, 2008, 09:21 pm »

I could use a bit of help from experienced musical SMs.  I have only done straight plays in the last ten years, but I just finished the first week of rehearsals for "Altar Boyz."  As far as doing my job goes, it's like I never left muscials; I've got it all under control.  My cast, director, music director and choreographer are all GREAT to work with.  And, I'm actually really digging the show, which is a pleasant surprise to me, as a Catholic Boy Band is not exactly what usually floats my boat.
I only have one problem, which I had forgottten about from my previous experience.  THE SHOW MUSIC WON'T GET OUT OF MY HEAD!  Any single second in time that I'm not listening to something else, the music just loops in my brain.  It's keeping me up at night!  In the car, I can listen to audio books, and when I'm home, I listen to the radio or have the TV on in the background, but when bed time comes around, I can't do anything: my husband needs quiet to sleep.  I've tried sleeping with my iPod on, and it worked but I nearly strangled myself on the headphone cord.
Has anyone got any suggestions on how to exorcise the soundtrack from my poor brain until I need it?  I'll try (nearly) anything at this point; I NEED to get some sleep.

333

Stage Management: Plays & Musicals / Re: Gratuitious Paperwork

« on: Aug 15, 2008, 09:08 pm »

I tend to make and carry more paperwork than I need, but, so far, it's never been more than the production needs.  The fifteen extra minutes on the computer is worth it, to me, when a designer/director/actor/crew member can ask me a question or to chart something for them, and I can take ten seconds and pull exactly what they need out of a binder.  This has also led to the practice of keeping two-volume "show bibles": one binder that is just the pre-show check list, script and post-show check list, and the other containing all other paperwork.
I look at my paperwork sort of like I do the contents of my kit.  I might not need the Tide-to-Go pen every production (OffTopic: Those things SMELL!) but when it is needed, having it will save tons of time and headache.  Same thing with some of the more obscure pieces of paperwork.  Besides, with a computer and spreadsheet program, cut and paste is my friend, and I can work up anything in ten minutes from the basic pieces.  Better to take the ten minutes in pre-rehearsal prep week, when you have it, than ten minutes in tech week, when you're near to pulling out your hair!

334

Employment / Re: Should I quit my day job?

« on: Jul 21, 2008, 12:36 pm »

Here's a quick update on my situation.  I decided to ask for the leave of absence.  I can always quit later (in perhaps a slightly better economy, even!)
I just called my manager about possibly getting a six week leave of absence for the rehearsal period.  She's going to poke and ask around and see what she can do for me.  She's very sweet; since I was sick yesterday, as soon as I asked about a leave of absence, she immediately got concerned, "Are you okay, sweetie?!"

I told her that I don't have any choice: if I can't get a leave of absence, I HAVE to quit.  I don't want to leave, but I will.  My career comes first.  She was very understanding.  I think she'll come through for me.  She just has to talk to her boss, and who knows who else.

It was very nerve wracking, though.  I don't deal with disappointing other people's expectations (i.e. that I will always be availibel to work the box office) well.  The phone call was difficult.  Waiting is actually not as bad.  Still, I want to go running, but it's 100 degrees out there.  Yoga time, I think. 
I'll keep everyone posted with the result.  Thanks for everyone's advice.

Edited To Add:  Leave of Absence has been granted.  I'll be able to keep the "net" until my debt is gone.  YAY.  I find myself slightly disapointed, though.  I know I'm going to start this grand adventure in a year or two, but it was a breathtaking possibility to be forced into it before I was ready.

335

Employment / Re: Should I quit my day job?

« on: Jul 20, 2008, 05:48 pm »

Let's see:

Stage managing is my career, very much not a hobby.  Right now, it's a slow career, but it is what I went to school for, and it is what I love doing.  The day job is just to "fill in the gaps" between gigs, which are occsionally large gaps.  Mostly, they're large gaps because I know I have a saftey net, so to speak, and I don't have to be as ambitious and agressive about getting work.  I wanted to keep that saftey net until my debt is paid down, but this "situation" may perhaps be the universe telling me that it's time to "work without a net."  I'm confident that I can do it.  But I'll be completely honest.  Taking that first step is SCARY.
I can't skip out on the show to do my day job, I've already signed a contract, and I like working with this theatre.  I would never leave them in the lurch like that, as rehearsals begin in about three weeks.
The community might be able to support me as a AEA SM (I don't know what the saturation level of EQUITY SMs are in this town) but I don't mind traveling, as well.  In fact, I'd like to travel or tour.  The long commute is simply because my husband already owned a house when we got married, WELL outside of town.  We both commute daily until we can manage to move closer (in this housing market, yeah right.)  Also, if the money is right, we don't mind relocating, down the road, if a permanent position comes up.  My husband and I have already discussed a great many things that may/could/should/might happen.
The show I'm going into is paying enough to keep me afloat, on it's own, at least for the length of the production.  And I'm pretty sure I could make equivalent pay elsewhere.  I've learned my lesson about taking low-paying gigs.  Not again!  No false modesty, I am good at my job, and I know what I'm worth.

I sort of want to take that leap of faith.  I had planned to.  Just not yet.

336

Employment / Should I quit my day job?

« on: Jul 20, 2008, 11:53 am »

Hey, guys.  It's heavy duty, life changing, advice time.  I have a pretty spiffin' day job working at the local arts center, in the box office.  I've had this job for about 3 years.  So far, the hours (and my manager) have been wonderfully flexible enough to let me do, pretty much, as much work as I would like as a stage manager.  I could usually squeeze in about twenty hours a week at the day job, in addition to rehearsals and performances, and I could take a few months off SMing if I got too exhausted, but still make (barely) sufficient pay to get my bills paid.

I just got the rehearsal schedule for the new show, and for some reason, this theatre, which I've worked for several times before, has REALLY ramped up its rehearsal hours.  It also moved them from morning or evening, which I could work around, smack into the middle of the day.  Pretty much the only day I'm going to be able to work my day job, at least until we get into performances, is Monday, EDO.  I'm not sure my day job is willing to be that flexible.  We'll see, I'm going to call my manager first thing tomorrow morning, but I want to have a idea of what I should do BEFORE I talk to her.

The advice I need is, should I bother to try and work just one day a week, or talk them into a six week “leave of absence?”  Or, should I take this as a cosmic kick in the pants, take the Equity card they're going to offer me, and dive head-first into free-lancing completely?  I realize that you can't know my entire situation or tell me what to do with my life, but I'm looking for a “what would you do in this situation?” discussion to help me find thoughts I might not even have on my own.  A few bullet points about my situation:

*I'm 27 years old.  I've been working in professional theatres as a carpenter, stitcher and electrician since I was 16, stage managing for school and community shows since I was 15, and stage managing professionally since I was 20.

*I am married with no kids, but a very clingy husband, who isn't delighted about me possibly working out of town for long stints, but promises to support me in my career as much as he can.  His income alone cannot pay both our bills.

*I was planning on taking this step, eventually.  I'm sort of excited about the possibility, but not thrilled about having it forced on me.

*I have an hour long commute, both to the theatre, and to my day job.  Luckily, they're only about fifteen minutes apart.  Moving is not an option.

*I have about $4500 in credit card debt from repairs to my old car, and emergency home repairs.  I was going to wait to go completely free-lance until I paid it off, so I could make do on very low pay, if necessary.  Right now, I need to make  just under $400 a week to stay afloat on all my bills.  If that were paid off, it would be much closer to $300.

*I LIKE my day job and the people I work with there.

This all may be moot, as my manager might say, “We can't be that flexible.”  Then I've just got to hold my breath and jump!  I will quit the day job, if that's the only option; my career comes before my job.  I'm wondering if I shouldn't just quit, anyway.

So, what would you do, and why?  Help me examine this thing from all angles.

337

Stage Management: Plays & Musicals / Re: Chatty People

« on: Jul 10, 2008, 10:46 am »

I had this problem with a director/producer in production meetings, once.  I've always been good with short, effiecent and productive production meetings, utill I started working with this particular director.  She worked in exactly the same way as you describe above.  In addition, she wanted instant fixes for things that needed time to be mulled over.
Finally I hit on a solution, that seemed to work without stepping on everyone's toes.  I'd let her repeat herself twice.  When she started the third time, I'd interrupt her, politely, and pretend I didn't understand what she wanted, while at the same time paraphrasing her words clearly and succintly.  Sort of, "Just a second, Sue*, I'm not sure I get what you're saying, let me try to work it out.  You're unhappy with the scenic design because of X; you want it to be a bit more like Y.  And you don't feel that the props design fits our budget, so you want them to re-vamp it on a smaller scale.  Did I get it right?"
She usually replied,  "Yes, that's exactly my problem."
Before she could launch into all the reasons, AGAIN, I'd quikcly turn to the designers in question and ask if they understood what was needed.  Again, the answer was usually yes.  I'd immediately ask if there was a solution they could suggest this very moment, or if they needed a few days to get back to the drawing boards.  Usually they needed a few days.  They knew that before, but they were under such direct pressure from the Director and her berating, that they got caught trying to defend their design, or think of something off the top of their heads.
Sue* was usually content with a coherent answer to her concerns, even if it was just, "I need a few days."  We'd set a time-line to come back to the issue in question, and bob's-yer-Uncle, we were on to the next topic.

I know your problem is partially in a rehearsal situation, but I think the structure I outlined might help, anyway!  People (myself included) usually repeat themselves over and over because they feel they're not being understood.

*names changed to protect my career!

338

Employment / Re: Webpage Resume

« on: Jul 08, 2008, 11:40 am »

I keep an online resume/portfolio, but I don't use it as my primary form of resume.  Because of the number of shows I've been involved in, in a number of different positions, my resume cannot be a complete resume and still fit on one sheet of paper.  So I usually mention in my cover letter that this is a partial resume of my most recent and/or relevant work (I wouldn't put stitching experience down when applying for a SM position, even if it is more recent), and a complete resume can be viewed at my webite.

It's also a good resource for me; I link to various theatre's websites, and keep a complete work history on it.  So often, I'll need contact info for a theatre I've worked with in the past, but I don't have my old paperwork with me, or I'll need to recall what I was doing in December, 1999, and I can just zip on over to my website!  Leaves the RAM space in my brain availible for other things!

339

Stage Management: Plays & Musicals / Re: THE PILLOWMAN- Some special effects help?

« on: Jul 08, 2008, 11:29 am »

If nothing actually has to burn, I'm a BIG fan of fake fire, particularly the silk variety.  Done right, from a distance of about twenty feet, it's almost visually indistinguishible from real fire.  Your ME should be able to rig you something that looks good and is safe with a few flickering, colored lights, a powerful but quiet fan, and some artfully cut lightweight silk.  Add a little stage smoke, even!

Then you just need to figure out what to do about the various liquids going into the basket, the lighter fluid and the water from the bottle.  Compartmentalized can, maybe.

340

Stage Management: Plays & Musicals / Re: Tips and Tricks: Raked stages

« on: Apr 14, 2008, 03:08 pm »

Seconding everything above, and adding my two cents:
Remember that actors will drop props, and you want to avoid them rolling down onto/into the audience if at all possible.  Check with the designers and construction crews for scenery to see about a small lip at the downstage edge, and makes sure the props department knows about the rake.  Small adjustments to props can make your life less of a nightmare and the audience safer.  Make sure all prop pens have those little clipy pieces of plastic, see if props can get square rather than round glasses, etc.
I did Cat on a Hot Tin Roof on a rake.  Brik's crutches on a rake = nightmare, and that actor also couldn't hold onto a tumbler to save his life.  Also, the children thought it was cute to "accidentaly" drop marbles from the pockets while on stage.  Ugh!

341

Tools of the Trade / Re: Luminescent Liquid Effect

« on: Apr 05, 2008, 02:31 pm »

<snip>
Granted I have no idea what chemicals these are or what would happen, say, if you got some in your eye, but I have used this trick before with much success.  Just a suggestion.

I've gotten glow stick liquid in my eye before (loooong story that surprisingly did not involve alcohol).  It didn't hurt, and I didn't even notice until my friends freaked out and told me to look in the mirror.  Now THAT was freaky looking; it spread across the whole surface of my eye and my entire eye ball was glowing!  With little kids tendancies to chew on things that stuff is all very NON-toxic.

342

The Green Room / Re: Things You'll Never Hear a Stage Manager Say

« on: Mar 10, 2008, 02:43 pm »

"I wonder if these flats will burn well?"

No... I have said exactly that... during set strike when a particularly troublesome set of warped flats appeared to be on their way into storage instead of to a shop for repair or the scrap heap where they belonged!

Yeah, I've said it, too.  I worked one place where we had a bonfire after each show...

My never thought I'd say it, but I just did, was yesterday.  I had to call places for one of my crew via cellphone because she was still on her way to the theatre!  Damn Daylight Savings Time....

343

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

« on: Feb 02, 2008, 07:29 pm »

Ooooo.  I was in marching band.  Yes, good shoes, but *twitch twitch*

344

Tools of the Trade / Re: What Type Of Drill Is Best?

« on: Nov 29, 2007, 02:52 pm »

I'm going to chime in on behalf of the Dewalt 14.4, as well.
I've worked in a lot of shops, with a lot of drills, and the Dewalt 14.4 is my second favorite (and the drill I own, and baby, and love to pieces).  I've not run into anything that drill couldn't do for me.
My first favorite is the Porter-Cable 18v, but it's got too much torque for me, and I've got skinny wrists.  *snap* is not a good sound.   

345

Stage Management: Plays & Musicals / Re: Thoughts on ASMing

« on: Nov 24, 2007, 12:38 pm »

We opened last night to a sold out house.  One small tech snafu, one piece of set falling off (leading to a brilliantly funny improptu line) and on small actor snafu.  Great audience response.

Not bad for a show thrown together in a week and a half!

Oh, and I got paid!   That always makes things happy.