Messages

346

Stage Management: Plays & Musicals / Re: Is there a right and worng way to call cues????

« on: Sep 14, 2007, 04:50 am »

There is a wrong way. That wrong way is calling "Go" before the "Department(Q) ##" and calling "Department(Q) ##" then "Stand by".

Why?

Because if you don't call it in the "acceptable" order, your ops, who will (in most cases) expect the format of "SB D(Q)## D(Q) ## Go!" will probably stuff up.

(ps. The Q is in brackets, because some people like to say "Sound Cue 15" and some like to say "Sound 15". Hence the brackets)

347

Students and Novice Stage Managers / Re: Emergency Contact/Medical Info forms for Students

« on: Sep 09, 2007, 01:04 pm »

I don't know how it is in the US, but in Australia, schools have all the emergency details on file, and that information is given out on an as needed basis. If you are doing a school show, then you will (no doubt) have a member of the faculty involved in some respect, and there is a good chance they will be required to attend all off-campus rehearsals/shows/etc. Talk to that person; there is a good chance that the teacher will know correct proceedure when faced with an emergency involving a pupil on an excursion.

Tread carefully. Your level of responsibility (as far as actors health) is a lot different in the school world than the professional world. Combined with the sensitive nature of medical information, you may face a lot of opposition in your desire to be professional.

348

Students and Novice Stage Managers / Re: Stage Management: A Nutshell in 3 minutes.

« on: Sep 06, 2007, 07:43 am »

"Stage Managers don't just manage the stage." Short and sweet ;-)

349

Stage Management: Plays & Musicals / Re: Effective communication as it relates to today's technology

« on: Sep 03, 2007, 03:07 am »

I have always loved that scene in LoTR. Both the symbolism of the flames, and the effectiveness.

Purity in communication - maybe we as stage managers are too interested in reports? Maybe instead of giving people a report and expecting them to deal with the issues within, we should just write a post-it note and stick it on their desk/front door/other surface/hand it to them/email them. Then just make rehearsal reports available by request. Maybe the answer would be more face to face meetings? Individual one-on-ones every week? Maybe we should just whack people arround the head until they get into the habbit of reading reports and acting on them? Or maybe we should get people to email/call us/whatever with an "Okay, read it, I will get X, Y and Z done by Tuesday" message.

To add another layer to the conversation:

I was called in to aide a friend in a small theatre the other day, as an impartial party, and also to consult on fixing their comunication issues (This company was having major issues, including the lack of a stage manager or equivilent), and my friend came out with one of the truest statements I have heard - and I think it applies to this thread:

I can tell you everything you need to know, but I cannot make you listen.

I can send rehearsal reports via email, fax, phone, in person, through the mail, through carrier pigeon, I can highlight sections, write post-it notes, write emails, or official "Please responds" etc, but I cannot make you listen and do what I ask you to do. If we provide the information in an efficient manner, is it our fault if the designer/whoever does not listen? What can we do to get arround these issues? Other?

ps. I love this thread too - so completely accademic, but also involving such pivotal topics.

350

Students and Novice Stage Managers / Re: High School Musical

« on: Aug 31, 2007, 03:02 am »

As with any SM job, be proactive, and make lists. Then make lists of your lists, then lists of your lists of lists.

Seriously, as said before, ignore the bottom line - you don't have to worry about it - that's the producers job. It may be a big production, but provided you establish your lines of communication early in the piece, and keep proactive, you will find that things click together.

351

Employment / Re: Reference changing jobs

« on: Aug 30, 2007, 06:06 pm »

I would always list the position that I worked with them in - if it has changed "Former ...." then "Currently ..." on the next line.

352

Stage Management: Plays & Musicals / Re: SM Olympics?

« on: Aug 29, 2007, 10:08 pm »

I have seen (and participated in) a competitive blocking competition before - 3 people with letters stuck on their front and back, 4 major prop pieces (two tables, a bookshelf and an ottomon), and 4 minutes, put to a song. The actors were given 4 major tasks each, which the SM's are kept unaware of - like sit on the down stage op corner of the table, or pick up the telephone and one point was given for correct notation of each of those key tasks. Another 8 points were given for general completness

I think it was one of the hardest things I have ever done - for the record, I came 3rd out of 8. Great fun though

353

Stage Management: Plays & Musicals / Re: ASM's Prompt Book

« on: Aug 29, 2007, 01:34 am »

I disagree with ASM's having a copy of medical forms - however I do not disagree with them having ACCESS when required to medical forms.

I keep two folders for a show. The ASM's prompt book contains everything I have in the second folder, plus whatever else they need. Folder number 2 contains all the floor plans, calling scripts, plots, cue sheets etc.

Folder number one contains show reports, rehearsal reports, incident reports, risk assessments, MEDICAL FORMS, yadda yadda yadda. Information that is not needed to run a show, but is needed on site in case of special circumstances.

I make sure that the ASM is aware of where folder #1 can be found in case of emergency - in most cases, in my bag, beside me at the Prompt desk. I want to know if there is an emergency that requires hospitalisation/ambulances/reference to a medical report.

Medical forms are of course destroyed on termination of show, however how can I guarantee they are destroyed, if they are not under my control.

354

The Hardline / Re: violation

« on: Aug 21, 2007, 04:27 pm »

If anything, I would be more worried about license violations on the script than AEA. Even if it was a fist run production, with a new script, all filming has to be agreed to by the copywrite holder.

That said, talk to the cast and crew - if ALL (not just the union members) are okay with the recording being done as it was, then I would turn a blind eye. If there were some worries about the method or how it is going to be used, then talk to the artistic director to make sure that these worries are known, and to gain some assurance. It's a rock/hard place sort of situation. No one wants to 'blow the whistle', as it may destroy opportunities for other collegues, so any action you do take should be taken with support from your cast and crew.

355

Stage Management: Plays & Musicals / Re: Effective communication as it relates to today's technology

« on: Aug 20, 2007, 08:00 am »

Maybe I should have clarified - I don't believe everyone should receive all information, but I believe that all departments should be aware of how things are running (in general) - even if it does not really pertain to them, as well as be able to access - and willing to access any information they need.

Meg - You are pretty much on track, in that I think we spend too much time on the medium we use to deliver information, rather than looking at the information we are delivering.

356

Stage Management: Plays & Musicals / Re: Effective communication as it relates to today's technology

« on: Aug 19, 2007, 09:30 pm »

What is the true nature of efficient communication and how does technology help or hinder the exchange of information in the SM's world?

Communication - the issue that Stage Managers lives seem to revolve around.

I love communication. I love to be in the know, and I like for everyone else to be in the know as well. I love thinking up new ideas for getting information to people, and I like to try and get people to use these methods (or even their own methods).

However often, other people only want to know things when it concerns them. To me, this is inefficient, as it can lead to people not working together as well as they should, however  to them, 'excess information' is inefficient in their minds.

There are a number of pivotal issues that often come to the fore in my mind (and many came up in the IM thread). The problem is, none of these issues have a definitive set of answers. They are all subjective - and communication is between more than one person - so there will be clashes on ideals.

Often technology is pigeon holed into "Hindrance" or "Help" - which is backwards to me - technology is not a means to an end, it is purely a method of delivering information. Information can be delivered 'near instantly' (as most shows only take place in a small area - tours excluded) in many ways depending on a number of factors, and if technology was not available to assist in the delivery of this information, we would find other ways of doing it. Maybe pigeons or a series of bells connected to strings, using Morse code or maybe messenger boys... It is more the ethical issues of the appropriateness of instant/near instant communication that I worry about.

Strangely enough, I am having trouble vocalising (textualising?) my thoughts on this subject, ironic really in a topic about effective communication.

357

Stage Management: Plays & Musicals / Re: Vent vent vent

« on: Aug 18, 2007, 05:11 am »

There are a few simple solutions to solving the "I am an actor, I don't need to put away after myself" syndrome

First, you inform them that putting the props away is their responsibility. If they don't put them away, then they won't be there next show.

Still collect them if they don't put them away, but don't put it with the rest of the props. Next show, they will ask where their prop is, say "Did you put it away last performance?" They will either lie (if they do, call them on it) or they will tell the truth, and you should pull it out of your bag/kit/whatever and say something along the lines of "I expect that you will put it away tonight?". If they fail to put it away again, send them to go and find it (even though you have it). Then when they cannot find it (10 or so minutes later) say "Your lucky that X member of the public found this and handed it in then.". Third time, they don't get the prop, and you say you will find a new one before the next show. I doubt it will even get that far.

Another method: At the start of the run, tell everyone that they are expected to remain behind for half an hour to assist with the pack down. Then draw up a roster of duties. Distribute it. If they say "I have to go meet friends", tell them that you were upfront about the time requirements, and that their friends can wait until they have finished their rostered duties. If there was an important meeting, you should have been informed well before the pack down.

And if all else fails, sit them all down and lay on the guilt.

Emotional blackmail works.

358

The Hardline / Re: Production Meetings

« on: Aug 13, 2007, 08:43 pm »

I pretty much concur. I also like to make sure I have one the day before bump-in and one after the first week of shows if there are many issues.

359

Tools of the Trade / Re: Prop Designs

« on: Aug 13, 2007, 08:41 pm »

I honestly doubt you will find one (sorry!). Prop and Set Design are fairly niche industries. That said, designing a top hat should not be too hard. I would start with a tin can. One of the large ones that fruit often comes in (the catering pack size). Use some stiff card arround that, to get rid of the ridges in the can, and attach a brim (again, use cardboard). If you want to give it a fabric look, get some spray adhesive and some felt.

A can is more than strong enough for someone to stand on - and it's so they can wear it. I would make sure the inside was felt lined as well, so as to avoid injuring the dancer.

360

Tools of the Trade / Re: Backstage booth/SM area

« on: Aug 12, 2007, 09:36 pm »

What is the area going to be used for?

For example, my bio at work has a huge whiteboard, with screws for holding up clipboards underneath - it's sole purpose is holding job sheets and showing what is in each room for the week, and who is working them. Not that useful in a theatre, but one of the most useful features of our booth for what the venue is used for.

We also have a bench along the front of the bio with gaps for followspots, with patch points along the back which link to patch bays, special lighting rails along the roof, which allow you to clip in a light at any location, racks for cables, a separate office etc. Your best bet is to visit a few venues and ask to see their facilities so that you can see what works and what doesn't.