Messages

406

Employment / Re: Job Offer: How Long to Make a Decision

« on: Sep 05, 2013, 01:38 am »

Good . . . I am playing within the seven day window.

(on a side note . . . one of the job offers was a "here are the shows", but I had to wait four days to get a salary and details attached to it . . . so, hard to know when to count when I got the offer . . . )

407

Employment / Job Offer: How Long to Make a Decision

« on: Sep 04, 2013, 07:10 pm »

So, I am sitting on two different job offers; with conflicting dates . . . how long do people feel is an acceptable time to accept or deny?  (Once a final offer seems to be on the table . . . )

Just wanted everyone's thoughts . . .

408

The Hardline / Re: Director Notes

« on: Sep 02, 2013, 02:54 pm »

I run into this a lot . . .

One production, the director dropped off notes at the dressing station before every show - I was so pissed off, but the actors were fine with it.

I try to change the behavior of a director stopping off and giving notes by asking to be present for all notes session so I know how to maintain it - and at half-hour, it's not ideal for me to be involved.

409

Students and Novice Stage Managers / Re: shadowing stage managers in rehearsal?

« on: Aug 29, 2013, 11:57 pm »

Rehearsals are tricky.

You would be surprised how small most rehearsal halls are in New York, and how many people in the hall.  (my current musical I had 58 people in the rehearsal room today).  Also, rehearsal isn't typically the best place for outsiders . . .

Now, tech or preview rehearsals might be a different story.

(And to be honest, rehearsal is the one thing that is pretty much the same everywhere . . . )

410

Stage Management: Plays & Musicals / Re: Turning in the Prompt Book to the Producer

« on: Aug 28, 2013, 08:01 pm »

I keep nothing but the digital files, turn in everything on closing night.

If there is anything that is overly personal, or confidential of some nature - I may remove and hand to the producer separately - since often these show books are kept in an oddly open and public place.

It belongs to them, they get it all.

411

Students and Novice Stage Managers / Re: Understudies/Double Casting

« on: Aug 27, 2013, 09:00 pm »

Many AEA theaters are now foregoing understudies as well - the cost of hiring, rehearsing them, costuming theme - is just not worth the insurance - since the runs are often short enough, and past history within the theater proves they just don't loose performances . . .

But I find it scary, a lot of times BECAUSE a theater doesn't have understudies an actor, who normally would call out sick, goes on - and often times not given an ideal performance.

When working without understudies, you need to talk to your producer and ask the hard questions about what happens if someone goes out - - - does the director step in on script, do you cancel - are their internal covers that could happen?

412

Stage Management: Plays & Musicals / Re: Calling Vs. Board Operation

« on: Aug 27, 2013, 08:56 pm »

That sounds like the person giving the notes doesn't trust you, and doesn't want to risk a calling error in the execution of the cue.

413

Stage Management: Plays & Musicals / Re: Calling Vs. Board Operation

« on: Aug 26, 2013, 09:54 pm »

All the time I have operators take a cue off a visual with a prep

"Sound 43 on visual - operator take when need hits the record"

Having them take it off a word is odd, unless there is an unpredictable pause . . . 

"Lights 123 operator take when actress yells "Lights!"

414

The Green Room / Re: Your First Theater Crush

« on: Aug 25, 2013, 11:06 pm »

Theatre was sort of forced on me as a child . . .

But my first crushes include . . .

Jim Dale in Barnum . . . me and my grandparents sat in the front of the Mezzanine . . . and I could have sworn he was singing "Out There" right to me.  Afterwards, my grandfather took me backstage (A frat brother as in the show), and Jim Dale was introduced to me . . . made my life.

In undergrad, I knew an acting teacher of mine was in CLOUD NINE (A fantastic play . . .), she played the double role of the meek nurse (the role I recognized her in) and the role of the sexually liberated neighbor . . . but I never put it together that she was playing both.  With all the quick changes, I couldn't figure it out.  Blew me away . . . and I went back and saw the next five performances.  I fell in love with the show, the magic of theater.

415

Stage Management: Plays & Musicals / Re: PRE-PRODUCTION: Noises Off! How to be Prepared?

« on: Aug 21, 2013, 07:05 am »

I disagree with Planetmike, this movie adaptation you can watch.  Although not the play script, it will give you a sense of what you are in for with the lines, characters, prop pre-set, and set are difficult.  The movie's "set" of "Nothing On" is pretty much what the script demands.

Noises off is NOT one set . . . it's one "theater set" that for act two has to turn around.  The prop pre-set is insane on the show.  Blocking is a bear.  And comic timing is insane.  (It's one of those show where you need to run it a lot).  I think the publish play script has a prop lay on included since it's so important.

Also, learn how to open sardines . . . you will use a lot.

416

Stage Management: Plays & Musicals / Re: PEOPLE: Working with a new Director

« on: Aug 16, 2013, 12:30 am »

When I sit down with a new director - I try to cover the basics.

How do you like the room set up?
How do you like to take breaks?
How detailed do you want me to be in reports? 
etc, etc, etc . . .

but I also like to ask more artistic questions, to get to know them and their relationship to the show . . . so I can start looking at the project with their eyes

Why this show?
How did the design process go?  What was lost in the process they loved?  What fantastic ideas grew out of the process?
What are they worried about in the process?
Are they happy with the cast?  Concerns about the casting?
How do they like to do table work?
How do they like to stage?  (Work fast on the first past, and then a slow pass - do they like to take the time and get it right the first time?)
How do they want me to handle the schedule?  Full cast there all the time, work at their natural pace?  Do they want me to schedule giving them a little push to keep on schedule?
How do they want to handle press and marketing requests (Some directors HATE this stuff)?
Do they want a rehearsal sound system?  How do they want to put in sound cues and music?
What is their relationship to their Assistant, how do they work with their assistant?

In the end, the goal is to know only get to know how they work, but how we are going to work together, as well as how I am going to support their work.  I want them to know I am not just about calling breaks, typing prop lists, and just the technical side - I want to make sure they understand I have an artistic eye and can support their work as much as they need.

417

Stage Management: Plays & Musicals / Re: Navigating break-giving (and directors who won't break)

« on: Aug 16, 2013, 12:19 am »

Look, if the director is going to fight you on this, then you need to push back.

Give him a ten minute warning, 5 minute warning, stand up 60 seconds before the break, and then say "excuse me, but it's time for a break - everyone, take ten, we will come back here."

Listen, if you ever get to the AEA world, there is financial burden for not taking breaks on time.  And no General Manager in the world is going to want to pay overtime because the SM can't figure out how to get the director to take the break.

There is no right way for a SM to get a director to take a break - it all depends on your management style and your relationship to the director.  You need to figure it out on your own.  I could tell you all the tricks and secrets I have used in the past - but they were based on my management style and how I worked with that specific director - and you attempting to try to duplicate my style and method could backfire.

Look, stage management is not for the weak or fearful - you have to be a leader, and not just to the crew, to the cast, but for the entire production - including leading the director.  It's something that can't be taught - it's something that you either have or don't have - I suspect you have it in you, you need to stretch your management muscles and push your style a bit.

418

Tools of the Trade / Re: Virtual Callboard

« on: Aug 16, 2013, 12:08 am »

I know of no one who uses it.

419

Stage Management: Plays & Musicals / Re: Navigating break-giving (and directors who won't break)

« on: Aug 12, 2013, 04:08 am »

This does not end when you turn AEA . . . I've worked with several directors who hate taking breaks - loudly announcing "WELL, YOUR UNION SAYS WE TAKE ANOTHER BREAK NOW."

Maribeth is dead on about finding the break time naturally.  Let's say you are an 1 hour 35 in, and he has finished a scene, say, "We can take our five here . . . ".  It's sooner then you should, but a much more natural breaking point which makes sense.  Also it situations like this . . . I try to break others perhaps not in the scene on time, so the director can't go on . . . "Oh, it was time for a break, so I let them have five."

At the end of the day, though, you have to stand up and say "We are taking five.".  You may get pushed back . . .but after awhile the director should get the idea . . . remember, you don't work for the director, you work for the producer - and the producer says 5 minute breaks every two hours.

420

The Green Room / HOME!

« on: Aug 11, 2013, 05:28 am »

After four months in Macau doing a temporary residency the biggest show (or at least one of the biggest shows) in the world, and 39 hours of travel (delays affecting international flights are the worst!), I am HOME!!!  Granted, it's only for four days - but when I am back in November, me and my husband will have to look at this travel thing - as when this is over it will be 12 out 15 months on the road, and he, rightfully feels that that is too much.  But so, so nice to be home.

I think being away physically so far away, along for the length, has allowed us both to be more vocal about our wants for the future . . . it's interesting to have to verbalize why certain gigs are important to one's career for a civilian spouse - but at the end of the day, it's important you both figure out what you need.

But now, HOME!!!  (Tuesday, Chicago . . . )