Messages

346

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

« on: Nov 21, 2007, 02:27 pm »

To get a little extra money for the holidays, I've taken an ASM job at a (wonderfully snarky) Christmas show.  I haven't ASMed in over 9 years.

I'm actually really enjoying it.  Tech was a wonder, since I wasn't panicking over light, sound, SFX cues.  I was just keeping track of my props and costume changes, and keeping the actor's reasonably comfortable.  I certainly had plenty to do, but it wasn't nearly the usual barely controlled panic.

I can go DO things during rehearsal.  If the director needs a drink tray for a prop on the bar, I can get up and go to props and PULL ONE!  If a new costume piece is needed, I can go find one!  Things get done!

I enjoy the challenge and stress of a usual SM job, but I just wanted to tell everyone how very much I'm enjoying my 'holiday job,' and for a short, seasonal gig, the cut in pay was more than worth the cut in stress!

347

Stage Management: Plays & Musicals / Re: The Most Qs Ever

« on: Sep 26, 2007, 05:23 pm »

I did a production of Cat on a Hot Tin Roof in an open stage with no walls.  It wasn't TOO bad until the storm scene, which had about 20 LQ and 17SQ, plus special effects over about four or five pages.

348

Articles from the Old Site / Re: So...do ya think you're theatre is haunted?

« on: Sep 26, 2007, 05:20 pm »

Two of my university theatre spaces had ghosts. 
In the black box space, there was a ghost in the dressing area that liked to open and close backstage doors.  I acutally trained the ghost to open and close the doors as necessary during a run of one-acts.  I'd look up and see one of the doors creeping open when everyone else was otherwise visible or on stage.  I'd say "Excuse me, we need that door closed," and it would close.  The fact that the ghost obeyed me freaked my actors out more than the ghost itself!
The Valborg mainstage space had a permanent ghost from an audience member who had died during a production in the 70's.  When we did Hamlet, however, we brought in a real human skull for Yorik, along with an ANGRY ghost.  It sent LOUD static over the sound system, waved things in front of the stage lights, and once I even saw it.  I was working about 15 feet from the end of a dead-end catwalk, and saw a male figure in a white shirt down at the end, clear as day.  I figured it was the ME (the only other person in the space), and ignored him.  Then, the ME walked into view around a different corner.  I look toward the end of the catwalk, and there was no one there.  And no way off that area of the catwalk except straight down!  And not down a ladder.

349

Stage Management: Plays & Musicals / Re: Word Use

« on: Sep 16, 2007, 02:25 pm »

I actually asked one of my old actors (there it is, "my" again) about how he felt on this topic. He surprised me. He said he had no problem being referred to as "my actor" or part of "my cast," but he also never remembered me ever calling them, "my."  
He did say that he felt it would have been inappropriate for me to call it "my set" or "my stage."
It's a prickly subject, to be sure. I've never thought twice about saying, "my" before, but now I can see how it can be a wobbly line.

350

Stage Management: Plays & Musicals / Re: Word Use

« on: Sep 14, 2007, 10:50 am »

I tend to "own" the productions I'm working on as well (well, if I'm fond of them that is.)  Though I subconsciously seem to avoid "claiming" anyone else's work.
I might say "my stage" since I mop it, sweep it and am in charge of everything that happens there once we hit opening night, but I wouldn't say "my set" unless I helped build it.
They're "my cast" and "my crew" because I take care of them, and/or lead them, but it's never "my carps" or "my stitchers."

I think you might try explaining that you're not belittling anyone else's work, but that you're admitting and claiming the responsibility you have.  No one wants to clean up after someone else's dog or fix someone else's fence....

351

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

« on: Sep 02, 2007, 11:52 am »

I like Iron Stage Manager, myself!

352

Tools of the Trade / Re: SM Computer

« on: Aug 13, 2007, 01:58 pm »

Oh, color me envious!!  "I have my ASM do this and my ASM do that..."

I can't remember the last time I had an ASM   

Oh, wait, yes I do.  Last time I had a show with an ASM, I WAS the ASM.

353

Tools of the Trade / Re: SM Computer

« on: Aug 12, 2007, 12:08 pm »

I only ever have my laptop out during rehearsal when I'm doing linenotes - I find it much easier to type them than to write them down.

I do so, as well.  My typing is much faster (and more legible!) than my writing.  And since I'm going to e-mail line note to the actors after rehearsal, anyway, *shrug*. 
I also do scene shift charts on the computer, during rehearsal.  When the director suddenly adds a prop whose location has to be charted, or decides he wants another extra in the scene, it's far easier and more accurate to make the changes on the file.
During rehearsal I usually have the following files open on my computer: line notes, shift plots, actor/scene breakdown, rehearsal report, and depending on the director, rehearsal schedule. 
Of course I have all these in paper in my book, as well.  I don't think I'll ever go totally digital, as in book on computer, or IMing other departments in rehearsal, but my laptop is a tool that I definitely feel makes me a better SM.  It makes my paperwork faster, more accurate and more efficient, that's for sure.

354

Tools of the Trade / Re: Painting on marley floor

« on: Jul 18, 2007, 11:06 am »

IF you can't find a solution that will make the dancers happy and end up having to re-tape every night, I've got a suggestion that should make it faster.
I SM'd a production of Cat on a Hot Tin Roof that ended up in something like four different rehearsal spaces, including a dance rehearsal room.  To make taping the floor easier, I made a gadget!

• Grab some chunks of 3/4" ply that are about 1'x1'.
• Sink a screw into the middle of each, but not all the way through.
• Put one chunk on each corner of your floorplan.
• Draw straight lines from the screw to the edge of the plywood along the line of your wall on each of your squares.
• When re-taping, use an appropriate length string tied to the screw, or a measuring tape to find the lenght of your wall, line it up with your next chunk, and viola.

Instead of plotting all your points, you can now plot just one or two and get the rest of the shape from there.  Initial set up for this can be a little arduous (STRAIGHT lines ar your friend!), but it probably saved me five or six hours over the course of the rehearsal process.

Or, you could get a big canvas tarp, tape your floorplan out on that, and tape that down for every rehearsal.  Would that work?
'Cause you're just in a crappy situtaion there!

355

Students and Novice Stage Managers / Re: Bows

« on: Jul 18, 2007, 10:48 am »

I did work for an opera company, once, that at the end of the very last performance of the season always had was they called the crew bow.  Most of the crew being reluctant to be in the spotlight, singers literally dragged us onstage, lined us up and made us bow.  I think it was just a chance for them to man-handle the crew; the singers enjoyed it more than the crew.

But no, SM or other crew bows are not typical at all.  Actually, at curtain call, I make it a point to give my actors a standing ovation every night, if my position can be seen from the stage.  I'm sure it makes them feel good to see me standing behind my position and applauding for them, too.

356

Employment / Re: Too Old

« on: Jun 11, 2007, 10:27 am »

This whole concept boggles me completely.  Stage managing is a very complicated job with a lot of responsibility and not a lot of, what most people would consider, reward.  You'd think they'd WANT someone with lots of experience.
Can anyone explain to me why there's this attitude out there?  'Cause I really don't get it.

357

Stage Management: Plays & Musicals / Re: Making a Boulder

« on: Jun 09, 2007, 12:02 pm »

Get a nice big chunk of white foam and have lots of fun with a Saws-all.  Then paint a voila!  Just check with cosutmes that she's not wearing spike heel shoes.
We did three GINORMOUS boulders for an opera this way.  Like chaise lounge size.  And each one could be carried off stage by one person, and could support as many people as would fit on it.  Obviously, it can be as big as you can find whitebead foam, or as small as you like.
Added bonus you now have a sturdy boulder in stock that can be repainted for other shows, or carved into something else.

358

Stage Management: Plays & Musicals / Re: Headset Etiquette

« on: May 25, 2007, 10:44 am »

With the caveat of "Me saying quiet means the conversation stops on that very syllable," I like to encourage lighthearted conversatin on headset.  Particularly if we've got someone on there who's in an uncomfortable place (like the grid) or there's LONG gaps between cues.  Keeps people awake and focused on listening.
We did a clean joke contest for one run.  The winner?

Q: What's brown and sticky?

A: A stick.

Yes. That particular show was that boring.

359

Stage Management: Plays & Musicals / Re: Traditions in the Theatre

« on: May 22, 2007, 11:21 am »

The no-purple rule actually stems from a practical reason.  In your standard warm/cool bastard amber/midnight blue lighting set-up purple turns a rather unflattering brownish color under the amber light.

I love playing with color and light!

360

Stage Management: Plays & Musicals / Re: Do you call from house or backstage?

« on: May 21, 2007, 12:00 pm »

I have a marked preference for calling from the booth.  I seem to keep wprking on shows that have a lot of cues that have to be called on visual elements. Small actions, especially facial expressions (Yes, I've had a note to call a cue when the actor blinks, or drops his shoulders, or other small movements like that) just can't be communicated via monitor.
I'd probably be more comfortable calling backstage in a musical or opera setting, however.  Cues off the score; no problem!