Messages

46

Stage Management: Plays & Musicals / Re: Script or Running paperwork?

« on: Aug 09, 2015, 07:43 am »

My preference is similar to Beatr79. Once I have the "shape" of the run sheets, I use that and a simple running order for final run throughs and tech. I've got big, messy handwriting when I write fast, so I usually create lots of extra lines for notes, and condense the final document after inputting all the stuff learned in tech and the first week or so of the run.

I keep timings in my script, and they tend to be very detailed - every entrance, exit, prop movement, underscore, offstage singing, scene... you get the idea. Even if my start-of-tech run sheet doesn't contain every time stamp, I try to keep my script backstage for reference. Especially when a major change crops up, having a concrete idea of how much time is available between A and B is great.

47

Tools of the Trade / Re: Submit your story about tech use for inclusion in Stern's Stage Management

« on: Jul 23, 2015, 07:07 pm »

- In a weird twist of fate (and mildly paranoid local news headlines) I video-conferenced a director into rehearsals... from three blocks away. He was very ill, and deeply concerned about passing stuff to the cast. (We had no understudies.) We staged all of Act II of an intricate drama via Skype, and the terrific Associate Director cleaned and ran the show. Altogether, we had four "Skype days." It was interesting for all of us - staff, creatives, cast. None of us had ever done significant video communications work before, and we felt very awkward at first. By the time our director was cleared to return, we'd adjusted to the talking head being our guiding force... and then we readjusted, quickly, to his being physically in the room. Reflecting on this years later is fun, given the saturated media climate we live in now. This was before the new Media and Media Lite language was developed, and I feel very fortunate to have worked in such a forward-thinking institution, with such a tech-friendly cast. Although I have not had the same situation come up again - whew! - I'm about to begin an academic program that will make ample use of video conferences, and remain grateful for this early, unplanned foray into video-based work.

- I work mostly in musicals. In the little subset of musical theater society I travel, it's common practice to set up private Facebook groups for each show/cast. It's possible I'm in the minority here, but I absolutely do not use social media to convey official company information to the cast. I worked on a team that attempted a Google calendar for actors, and it was not a success. The "come here to check what's happening" solution did not hold up against a single, huge, daily schedule for that company, and a single, huge, daily report. I would love to work on a team that successfully implements a web-based communications policy that is NOT bunches of daily emails to hand-picked groups. At the same time, until a critical mass of working professionals of all ages and backgrounds are fluent in the necessary software, I am doubtful this kind of solution will succeed outside of academic/big and long-term institutional settings.

- By far the best tech feature I have started using, and will continue to use enthusiastically, is group texting. It's private, it's free for me (and most of the people I work with), and it reaches people even if they are unable to make a phone call (e.g., underground on a subway.) As an Apple user, I can text people from my computer even when I am underground, in a basement rehearsal space. It's fantastic. So much better than making 28 phone calls to announce an emergency scheduling change! Also, when I'm backstage mid-performance, texting has been a huge help. Everything from sending a photo of damaged scenery to the shop for troubleshooting, to privately informing another SM of a safety issue, to silently announcing a surprise birthday party at Intermission... even as a backup for headsets, when cues and info aren't time sensitive enough to warrant an actual phone call.

48

Stage Management: Plays & Musicals / Re: Wardrobe Runsheet

« on: Jun 05, 2015, 12:19 pm »

My experience is this answer will change for every Wardrobe Department. The team I've worked with most often, most recently, gave me the form they use, which is a simple entrance/exit form with columns set up in the following way:

Actor Name - Character/Part - Time & Location of Exit - OUT of X look INTO Y look - Time & Location of Entrance

In the column describing "OUT of/INTO," I typically give basic info. "OUT of Lost Boy INTO Blue Pirate look" is perfectly sufficient to tell the Wardrobe Supervisor about the change.

As far as determining where changes will be executed, of course, decisions will vary according to your team and venue. The rule of thumb that works for me, here, with this team, is that if the interval of time for a change is great than 4 minutes, it's done in a dressing room. If it's less than 4 minutes, we will do the change on deck, at the place most convenient to the actor's next entrance location.

In our current show, several actors wear flying harnesses, and several also have extensive makeup/wig changes. We've determined the best practice is to always treat harnesses as deck costume changes, so the designated flight captain can check them without leaving the backstage. Massive makeup changes are always in dressing rooms, often with dresser assistance.

49

Homework Help / Re: (Homework [Help) Me!]

« on: Feb 02, 2015, 09:37 am »

It's interesting to note how important the alleged offender's role is in these situations.

A volunteer behaves inappropriately - they are quickly excused from their responsibilities, by whoever is empowered to do so. Ten minutes of conversation, and no paperwork. In terms of the money spent to assess and resolve this matter, it's a few dollars' worth of time.

An adult cast member behaves inappropriately - they are brought to a meeting with one or more supervisors (HR/CM, possibly SM, GM, PM, Guardian or Wrangler... the possibilities are endless, depending on the institution.) It is determined the cast member will be released. Paperwork is filed. The understudy is called, and advised to prepare. The cost of replacement can be high: buyout for early termination may be 1-4 weeks' salary, the crew will have additional work hours for a put-in, and there is a possibility of cast and crew OT for an unexpected rehearsal.

An adult staff member behaves inappropriately - what if it's a stage manager? How much can a company invest in resolving this situation? Let's say it's a professional, non-profit company, doing a limited run - so there's little opportunity to make money off ticket sales. The SM in question has no one trained to cover their track (it doesn't really matter if it's a deck track or the calling position.)

Does the producer require the SM to remain apart from the company at all times, and do ONLY the required tasks that keep them isolated from the company? Paging, paperwork, reports, silently supervising or calling cues with no side conversation are all allowed. Attendance at official or unofficial social events, and visiting the green room or dressing areas, are strictly forbidden. Sounds pretty toxic, but it's "free" in terms of cash expenditure.

Does the producer hire a replacement SM, and have them train as fast as possible while the outgoing SM is closely supervised?

Does the producer release the SM on the spot, and hope that the replacement can hit the ground running without hurting the show?

How much disruption can the institution and the show handle, and how much can they spend to do it?

These are not questions we, as stage managers, have to answer, but as we move up the ladder in terms of the alleged offender's position, finding a resolution grows more complicated and costly.

We are also expected, of course, to make things work - even if they are a less than ideal... for the sake of the show, because the "perfect" solution is simply too costly, because there are only 3 weeks left in the run, etc.

50

The Green Room / Farewell, Cafe Edison

« on: Nov 06, 2014, 12:10 pm »

New Yorkers (and de facto NYC residents, lovers, etc) this is very sad news: http://vanishingnewyork.blogspot.com/2014/11/cafe-edison.html

The Edison is a mainstay in the Theater District - and, on a strictly personal note, it is where I first met a dear friend in real life, after first connecting here on SMNetwork.

51

Tools of the Trade / Re: TOOLS: GaffGun

« on: Nov 05, 2014, 02:36 pm »

Now, for Christmas, can we find one that does the same thing with marley tape?!

52

The Hardline / Re: Changing rehearsal hours?

« on: Aug 24, 2014, 11:14 pm »

It's a small thing - but not all TYA contracts rehearse six days a week. I've done TYA where the rehearsal schedule is 3 or 4 days a week- which makes the 12 hour notice for changes to schedule very practical.

53

The Green Room / Re: Tragedies and other space invaders

« on: Aug 12, 2014, 10:13 am »

Like bex, I was in rehearsal with a cast who felt Michael Jackson's death very personally. Some of them had even danced in his videos or onstage with him. The director held the room for a moment to make sure everyone had heard the news (not everyone had a cell phone, and the initial headlines/posts/tweets were all pretty muddy). We carried on with rehearsal, and at the end of the day we all went out to remember and celebrate his life... until about 4am. I don't spend a lot of time socializing with the cast, usually, but those hours of talking and dancing created an amazing company bond.

I've also been working in NYC for both Hurricane Irene and Hurricane Sandy. Once the weather cleared, in both cases, we had rehearsal or performances scheduled... before the subway reopened. Cabs, personal vehicles, and one memorable walk from W. 141st Street to Times Square... the shows really did go on, and especially after Sandy, company camaraderie overrode a lot of the short-term difficulty.

54

Stage Management: Plays & Musicals / Re: PROPS: Balloon Management

« on: Jul 16, 2014, 11:52 am »

I've used soft laundry bags and big plastic garbage bags to manage balloons before, although never such a quantity at one time!

Depending on whether the balloons have string, sticks, or are just loose, I might propose a jury rigged "bin" with bungee cord webbing (from an auto parts store - usually $20ish, depending on the size) and PVC pipe or wardrobe racks. More or less the same setup that's used for basketballs and beach balls at any Toys R Us.

55

Stage Management: Plays & Musicals / Re: POLICIES: Actors TOO Early for Call?

« on: Apr 13, 2014, 04:48 pm »

I'm curious. Is this concern about more than simply having actors inside the building?

I've had casts who happily arrive at 7:28pm for their 7:30pm half hour... and casts where the habit is to arrive at 6:15pm for a 7:30pm half hour. Transportation realities, actual prep time for wigs/costumes/makeup/fight calls, warmup opportunities, etc. all factor into this, of course. In both cases, it's no problem.

Where it's been challenging is the situations where early arrivals use the time not for show prep, but to bring extracurricular requests to the SM office, which then interfere with Stage Management's preshow schedule. Is this what's happening?

56

Stage Management: Plays & Musicals / Re: Dear Abby: My employer is playing with fire

« on: Mar 20, 2014, 10:48 pm »

I've worked with Gam torches, carried by pros and non-pros. (My current show uses three at once, in a fast, choreographed chase sequence. Looks amazing.) No complaints. The fuel pellets don't smell pretty, but they're not as unpleasant as liquids which can spill, stain, make hands and surfaces oily, etc.

I'd recommend devoting 10 minutes of your first tech to "fire tech" - have the folks who handle these torches practice lighting them, walk through the entire sequence to work out if they need drapes paged or doors opened, and remind them that safety - their own, their colleagues', and of the physical space - is a top priority.

Regarding the fire marshal question... Whoa! I agree with Matthew and soonjung. If there's any expectation that this show will run for an extended time, the sooner you're formally cleared, the better.

57

The Hardline / Re: AEA: E-Cigarettes

« on: Feb 17, 2014, 01:48 pm »

I think it should be noted that, even though California fire code is strongly worded for public spaces, NYC's anti-smoking legislation has become much more aggressive in the last ~10 years.

It's not strictly AEA that regulates the content of onstage smoking/fake smoking devices; it's also that the Union ensures the contracts jell with local laws. Your PM and/or Ops Director may want to be in on the phone call to AEA, since building compliance and codes probably fall under their purview...

(That said, hazers are the second cousin of this topic, and there HAS been quite a lot of direct AEA involvement in researching and regulating that stuff for use in theaters... Maybe it's time for a thesis topic looking at this larger conversation?)

58

Employment / Re: WHAT NOT TO PUT ON YOUR RESUME . . .

« on: Feb 09, 2014, 05:42 pm »

So, should I reconsider the Bubble Witch high scores section?

59

Tools of the Trade / Re: Ergonomics and the Tech Table

« on: Nov 24, 2013, 05:37 pm »

Ruth - two sturdy music stands do the trick for me, in a pinch. If the props department has something like an old calling desk or podium with a flat top and angled desk surface with a lip, that's even better. (Really, who doesn't kinda love a good, simple calling desk?)

60

Students and Novice Stage Managers / Re: Should I go back to school?

« on: Nov 12, 2013, 12:44 pm »

First - what a shocking way to put a hold on your college career! It sounds like you're very resilient, and made the very best of a terrible situation. Well done!

I'll vote heartily for returning to school, assuming your situation allows it. You can and have found work and experienced a LORT production setting, and that will stand you in good stead, and may even help you into more advanced courses and projects in whatever college program you pursue. Finding more work is (I imagine) not so very hard for you at this point.

Going back to school is hard. It's a big change of mindset, a big change of schedule, etc. Do it now, before you have other obligations and needs that make it tough to adapt quickly. If you can, enter a college program that will allow (maybe even encourage) concurrent professional development, and continue nurturing your internship/apprenticeship/PA work opportunities.

Good luck - keep us posted!