Messages

421

Students and Novice Stage Managers / Re: Sample Production Analysis?

« on: Mar 03, 2007, 01:04 pm »

Check out the uploaded forms section of this site.  There are several versions of production breakdowns/ scene breakdowns.

I tend to tailor my breakdowns to the specific play and company I am working for.  If the play is a 3 character 1 location play, I might do a simpler scene by scene breakdown.  But, for example, I did Serious Money which has 50+ characters and 50+ scenes, for that I had to do a page by page breakdown.

What play are you doing?   Is it one we might know?

But there is no "right" way to do it.  As long as you and your team can find the appropriate information easily, that's really what matters.

422

Students and Novice Stage Managers / Re: Stage Management Observation

« on: Mar 03, 2007, 11:25 am »

When do you need to have this done by?

423

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

« on: Mar 02, 2007, 07:03 pm »

Speaking from experience, having an intern/PA mouth off about someone's medical condition is something you don't want to give them the chance to do.  Perhaps "safety" was a strong word - at least for their reputation as well as the privacy of the actor.

Lots of interns (and some PAs) don't have a perfect grasp on when to share info and when not to....

When I hand out confidential info, it usually has "CONFIDENTIAL" written all over it and I specify that it is such when I hand it off.

Also the medical forms that my casts fill out have a note at the bottom that says "STAGE MANAGEMENT" will keep this information.  Which includes ASM and PSM.

I would not share medical info with PA's or interns.

424

Stage Management: Other / Re: Romeo Rental

« on: Mar 01, 2007, 10:26 pm »

Try the Joffrey.  PM me for contact info.

425

Employment / Re: Warnings about interviews

« on: Mar 01, 2007, 09:48 pm »

The dog was there when I interviewed too!

426

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

« on: Mar 01, 2007, 01:14 am »

I'd agree aside from medical reports... I think med forms should be under lock and key at all times. Available only to Company Management...

I guess this is easier if you have a full-time company manager and your rehearsals take place during the regular business hours. 

Yes, this is one of the differences between dance and theater.  Though most theaters have company managers, most times they are not as present/ involved as dance company managers.

In most larger dance companies all medical info is handled exclusively by company management, in theater SM is usually the first point of contact and passes info/ responsibility on to the CM.

I think it is very important for ASMs to be informed about medical conditions of the cast.  Often the ASM is point of contact backstage.  If (for example) a cast member has diabetes or some other chronic illness, I as the ASM need to know this. If the SM is calling the show and the actor starts to get sick, the ASM is the first person to help that cast member.  It is my responsibility to treat this information carefully, but it is also my responsibility to know it.

It is your responsibilty as the PSM to make sure your staff is informed and aware of procedure, but an uninformed staff can be a dangerous staff.

Of course we need to be discreet with our cast's information.  This applies to contact info, overtime pay, hazard pay, medical info, anything that we as stage managers end up knowing.

427

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

« on: Feb 28, 2007, 03:22 pm »

An ASM should have copies of all medical forms/ accident reports etc. 

Also, s/he should have set diagrams/ ground plans, props lists, entrance/ exit chart.  Basically, anything that you have at the beginning of rehearsal s/he should also have.

As your rehearsal progresses into performances, his/ her book could become more of a backstage bible (focused more on the running of deck and props) and your book more of a show calling book.  But when I ASM I tend to keep copies of my PSM's paperwork for reference (for me, the crew and the cast backstage).

428

Students and Novice Stage Managers / Re: School or work?

« on: Feb 28, 2007, 01:34 am »

I encourage you to get your full degree (BA or BFA).  It might not directly lead to more stage managing jobs, but will be important if you ever want to switch careers or move on to a graduate degree.

Yes, employeers often focus more on experience than education, but getting a degree in theatre/ stage management IS experience.  You will make contacts and get a chance to try more challenging projects in a safe environment.  Schools often have internship connections that would be difficult to get on your own.
You will also get opportunities to study abroad and study other subjects.  (Art history, music theory, languages, etc).
 
That's not saying you won't thrive without a degree.  Most early career SMing is trial by fire anyway.  You might do very well without formal education.  Getting your degree will help build a foundation, but it is not the only way to do so.

429

Employment / Re: Warnings about Interviews

« on: Feb 22, 2007, 05:42 pm »

Interesting . . .

I interviewed with him for this play and got a little scared off with the questions he was asking at the interview.

Examples:
"Have you ever been involved in a production where a grievance was filed with the union?"
"Have you ever been involved in a production where someone got fired?"
"Have you ever fired anyone?"

That's all I can remember and luckily I got another job and didn't have to deal with anyone there.

Sorry you are having a rough time.

430

Stage Management: Plays & Musicals / Re: Wish Me Luck!

« on: Feb 13, 2007, 11:31 am »

In a college or any educational setting you can have mandatory warm up.  If there are fights or a dance number that need to be worked before the performance, you can do that.  (but that is usually decided upon and agreed to up front).  You can suggest group warm up and ask for volunteers to lead it, but you can't make people participate. 

Perhaps, though, if you post a notice with politely mentioning that the stage is available at a certain time, the cast will feel more comfortable using it.

431

Stage Management: Plays & Musicals / Re: How do you call your sound cues....

« on: Feb 13, 2007, 11:26 am »

and SFX (software) programming is in numbers.

I used SFX software last season, and it has the option of using either # or letters, and still has the ability to use point cues, ie. SQ R.5, R.9.

Versatile software, that!

How does it work if you get up into really high amounts.  The last show I did with SFX had over 300 sound cues (not counting autofollows and stuff).  Does it do double letters or do you have to do A.1, A.2, A.3 all the way through?

432

Stage Management: Plays & Musicals / Re: How do you call your sound cues....

« on: Feb 11, 2007, 11:44 am »

What you should be carefull is that your cue titles don't watch up like "Lights" and "Leaves" - that, in my experience, can be a problem.

I once ran into this problem calling a (touring) show in France.

"Sound" is "son"
and "Fish" is "poisson"

So at the end of the show, when I called for the fish, the sound went.  Luckily it was dress rehearsal and we were able to sort it out before that evening's performance.

Also, to respond to the initial question.  I prefer sound numbers over letters.  Sound numbers can line up with CD tracks in same shows (very convinient for dance) and SFX (software) programming is in numbers.

When I used to tour I would distinguish further between lights and sound by always saying "Light CUE 43" and "Sound 5"  That way if th word CUE is used it is always lights.  Other departments like Sound, Rail, Curtain, Shift would not have the word CUE.  I don't use that technique when I have a regular crew, but for one-off's on tour, it comes in very handy.

433

Tools of the Trade / Re: Squeaky shoes on stage? New trick!

« on: Feb 09, 2007, 02:13 pm »

Liquid latex.  Works on shoes, works on socks.  Really works on anything you want to make grippier.

Available in theatrical make-up supply shops and most sex shops.  (I know this from running out while on tour in Germany)

434

The Hardline / Re: Scheduling Actor Haircuts

« on: Feb 08, 2007, 10:11 am »

I usually recommend the hair dresser come during tech and schedule the hair cuts during scenes that particular actors are free.  I do the same for final wig styling.  It might require a little juggling of tech time and sometimes the hair dresser is idle, but it's always been someone who works in theatre a lot and is used to being flexible.

If an actor wants their own stylist to do the cutting or dying, they usually schedule their own appointment, but the costs are covered by the theatre.

435

Students and Novice Stage Managers / Re: Guys and Dolls

« on: Jan 29, 2007, 04:40 pm »

How bog is your rehearsal space.

Can you tape out the whole turntable just as it will be onstage?  Then move yourself and director around the perimeter of the room for each scene.