Messages

46

Students and Novice Stage Managers / Re: Rehearsal Suggestions

« on: Nov 01, 2006, 09:57 pm »

to add to Number 6 i always think of it as, never talk bad about a show while it is still in production, wait till after closing then vent all you want.  I mean if theres a problem and it can be fixed do fix it but if its just bad mouthing things, keep it to yourself till after closing. 

And I have to add that #3 is a very important one.  It also helps to be able to say, "I don't know the answer to that but let me call/email/ask so-and-so as they would be the one to know."  This helps to show that while you dont know the answer you know exactly who to goto to get the answer.

just my 2 cents i felt like adding.

47

Students and Novice Stage Managers / Re: Calling/teching your first show, your experiences.

« on: Oct 31, 2006, 11:46 pm »

I don't recall very well my first tech either.  I do remember though that no matter what show it is that everytime when we start tech the opening sequence of the show always gets off to a slow start and we get bogged down figuring it out longer than we should; however, once we get past that the pace picks up and things become smoother.  And I think everytime I tell myself on my next show I need to discuss the opening sequence before we begin tech but it always manages to sneak up on me. 

So oso dont feel bad that the first sequence slowed you down, I often find it is the hardest sequences to tech. 

48

Students and Novice Stage Managers / Re: I'm looking for advice

« on: Oct 31, 2006, 11:40 pm »

I'd like reaffirm the whole please and thank you usage.  If you are polite to them it makes it hard for them not to be polite to you. 

As for yelling, I don't think you ever want to yell at anyone you have to keep working with.  I know personally at times when someone starts yelling at me it does one of two things.  One it automatically triggers a defensive response that immediately starts blocking what they are trying to say as I try to argue back that they are wrong (cause face it not many immediately admit they are wrong). Or two I just let them yell and completely tune out what they are saying cause they are just having a hissy fit (at least thats how it was growing up with my dad.)  Anyway my point is you dont want to yell at anyone cause ultimately they will think you hate them and they will start resenting you.  I know its easy to get pissed off and yell but the trick is to be firm and direct without yelling.  If you approach them in a polite non aggressive manner and let them know exactly what the problem is it is less likely they will become defensive and will be more receptive to taking the note. 

49

Students and Novice Stage Managers / Re: The Ultimate Decision

« on: Oct 31, 2006, 11:26 pm »

He answered me "When the audience applauds, that's still my work out there."  I didn't understand him at the time, but as I started my MFA, the head of our department asked me to SM his Assassins.  It was a big and challenging show, and I came to realize that my own sense of timing in calling cues was as much a part of the artistic integrity of the show as any of my acting performances had been.  The words of Billy/Shawn came back to me, and a light went off in my head!  I understood what he meant!

I like that.  Its a nice way of putting it.  I once had an actor come up to me in college at a cast part when i stage managed HAIR with a 21 person cast and he commented that he looked at me as more than just the stage manager but also as like the 22nd member of the cast.  He went on to explain how he felt that a show cast through working together falls into one unit with a single heart beat that they all share and that when a song would end they would hold for that applause then right when that heart beat was saying to move on I would always have the lights coming up right with that same beat.  And I remind myself of what he said to me from time to time as it lets me sit and hear that applause at the end of the show and realize as the stage manager how much i added to the show.

As a SM, I'm not the most hyper-organized guy around.  But I can tech a show more efficiently than most, and I LOVE to call shows.  My favorite place on earth is in my captains chair on "the bridge". 

The director for the last show I SMed said something that has stuck with me and I forgot who said this to him before that and you're comment about not being the most hyper-organized guy around made me think of it.

"The best stage managers I have worked with were not good because they had a desire to be organized.  They were good because they had a desire to know everything." and then he added "if they desired to be organized they woudl have become accountants." 

When he said that it instantly clicked in my head how true it was, cause I know I'm not the most organized person out there (I mean my prompt books are pretty good and with each show i see them getting better but if you looked in my apartment well thats a whole other story.)  I had to comment to the director then how i agree and that the organizing part just helps you quickly find the answers to everything. 

50

Stage Management: Plays & Musicals / Re: Email Nightly SM Reports

« on: Oct 02, 2006, 02:22 pm »

Through various issues with various people and what format they can read on their computer I have always copy and pasted the report into the body of the email (lets people quickly see what they need to know).  On top of that I also attach the word document file to the email in case people like to print them out so it has nicer formatting.  I like them in word so I can print them out nicely for my production book.  Also I always send the report email to myself as well, that way I can see it was sent out and reference back that everyones name was on the email.  

To further help me in the matter I put a question on the personal information form (form I have everyone fill out so i can get contact info and such) asking "What kind of computer files can you recieve?  .doc  .pdf  .xls  .html  .txt   no idea,   and I ask them to circle what they can.  This lets me know if any specific people need me to get them a hard copy or come up with a different way of sending the information. If someone says they have no idea I can talk to them directly and find out what they need (in the past they could read my .doc fine they just werent aware it was called a .doc file.)  Basically I just find out what everyone needs are and adjust how i do it that way.

51

Stage Management: Plays & Musicals / Re: Handing over a show

« on: Oct 02, 2006, 02:05 pm »

Isn't the bus test when you can look at the prompt book and figuring if you get hit by that hypothetical big black theatre bus that someone can pick up the prompt book and understand everything without explanation.

52

Stage Management: Plays & Musicals / Re: My Strings are Unstrung

« on: Oct 02, 2006, 01:14 am »

I will have to give the resigning SM credit that he left the keys and the prompt script; however, I can't condone ever leaving a show like that.  If for whatever reason you feel you need to leave a show (and anything besides personal health or family related health reasons you better have a really strong case for it) you should at the least have the balls to tell them face to face, or even more so not right before a show. 

To quit because the producer complained you weren't giving actors their call times is just rediculous.  I can't imagine anyone who would want to hire that SM again if they heard he did that. 

And I do have to add that it doesnt seem right that you opened a note addressed to the producer and read it.  At the most you might have picked it up and taken it to the producer as he might otherwise never goto the tech table, it just doesnt seem right that you read it, but hey if i picked it up and keys fell out I would probably have looked too.

53

Stage Management: Plays & Musicals / Re: Handing over a show

« on: Oct 02, 2006, 12:58 am »

Its never an easy thing.  I just recently had to have someone step in for me as stage manger for one night during previews so I could attend my cousin's funeral.  Only person who could do it was the director and no matter what you do you show them everything that needs to be done, you have them do it and even after that since you have put so much into it already you just have that feeling that it isnt gonna be as good as if you were there doing it.  Ultimately you can just give the other person as much info and help as they are willing to take from you, just remind them you are there to help them take charge of the show and that you trust them to do it.

54

Students and Novice Stage Managers / Re: The Ultimate Decision

« on: Sep 27, 2006, 11:52 am »

See I started out as a tech guy in high school.  Joined into the theatre cause a friend from junior high did it and i was always told going into high school to get involved with something.  Did every random tech thing there and senior year took on stage manager (which was more like head person incharge over all tech stuff on stage).  Went to college undecided what i wanted to do with my life.  Thought about computer science and took an intro to computer science class but at the same time took intro to theatre as a gen ed.  Well just had too much more fun in the theatre class so talked to the theatre department they put me in the Scenery/Lighting Tech class, loved the class and from then on  I was in the theatre department.  Didn't know what I wanted to do at that point but I enjoyed working in the theatre.  Was assigned as the ALD for a dance show and while sitting through a tech rehearsal I saw wat the SM was doing and thought to myself, "hey i think i could do that, and I think I can do that better than him." (as a note the SM was a BFA actor who was strong armed into SMing since there was no one else and all BFA actors are required to SM or ASM one show for their degree.) So I signed up to ASM with who I heard was the best SM at the school and with no prior training or knowledge I was doing stuff in rehearsal that amazed him, for example one day I came in with a list of all the props and what scenes they are needed in and who uses them.  He went to the director and was like  "look what our ASM did without even being asked." I felt so proud.  And to this day the SM for that show is one of my friends and he still says "I didn't look as you as an ASM for that show it was more like co-stage managers.  And after that I did a dance show to prove to myself I could do better than the SM i first say when i was the ALD and I far surpassed what I thought.  Wound up when I graduated the dance department considered me an Honorary Dancer cause I had SMed so many of their shows and made all their lives easier in it, they still email me now that I'm graduated saying they want me back, that the new people suck.  And now that I am graduated and finally living in Chicago I've started working on some shows and have always gotten positive feedback on the work I do.  So I believe I found my place in this crazy world of theatre.  Some people still look at me strangely when I tell them I'm in theatre and that I stage manager (most reply "im sorry" or "i would never do that," and go on to tell of bad times when they had to SM something.) But hey I think its a blast, can be stressful at times but when you see the show go up and the audience sitting there laughing or crying with the show you know the show made an impact and you know all the work you put in had paid off.

(ok I know I went about tooting my own horn above, people in college saying I was the best stage manager ever, well now its my moment of modesty to say I don't think I am the best ever and even sometimes I think I'm not all that great, I think I can be better, and I know there are so many more out there that are or can be better than me.  I just don't want to come off as one of those cocky people who thinks I'm so great when I'm really not, it's early in my career, it takes time to achieve greatness, just thought i had to add that in)

55

Students and Novice Stage Managers / Re: ASMs vs SMs

« on: Sep 27, 2006, 11:27 am »

In college I was blessed with two ASM for a musical production.  In the early rehearsals there wasnt a whole lot for htem to do so I just required that one of them be at each rehearsal to help me where needed.  When we got farther into the production I like having my ASM take charge of giving lines and making line notes, so then I can focus more on the blocking aspects.  If I have a second ASM they get to track props and be the goto person about all prop matters.   Ultimately if you have them delegate to them any task that would make your job easier if someone else could do it.  Remember they are your assistant they are there to assist you in whatever you need (within reason of course.)

56

Stage Management: Plays & Musicals / Re: Stop The Show!

« on: Sep 25, 2006, 03:02 pm »

Luckily I have never had to stop a show yet (knocks on wood).  In college I came close.  It was the last section of the last dance number in the show.   The lights had just faded down for the transition in the music and I heard a loud crash, so over headset I said "someone find out what that was and let me know when I ask in a minute" (we were in a standby at the moment."  well just as I called the lights to come back up I saw a large chunk of something fall upstage center.  What had happened was a PAR lamp had cracked and falling into the gell and since the glass was so hot it melted through the gel and fell onto the stage.  The dancer continued dancing (he was always downstage) and since I was new to the SMing then then the TD for the show who was a new grad student got on headset and was like "you know you can stop the show now if needed."  So i replied "yeah but there is 30 seconds left and he is always downstage, no need to stop fix it then restart the piece as the show is about to end."  So I just carried it on to the end, luckily the dancer saw the problem so he was able to stay away from it and as the piece eneded the dancer would turn upstage and walk as lights faded out, so I just faded the lights sooner.  Unforteuntly the dancer wasnt very smart so once the lights went black he picked up the chuck of glass and threw it offstage right, luckily it didnt hit anyone or shatter everywhere, but it did mildly burn his hand.  In the end it was found that all the small chucks of the glass had been safely melted into the gel so we just had a large chunk on the stage which melted a little bulge in the marely floor.

After that I have a print out that I keep on my tech table for ever show to give me a step by step process if I have to stop a show.  When I see the problem I tell all my crew "we appear to have a problem everyone standby." Bring in curtain, bring up some house lights, and stage lights, have my asm assess the problem.  Get on the god mic and say  “Ladies and Gentlemen, we are experiencing a delay in this evening’s performance.  Please be patient while we determine the cause of the delay.  Thank you very much.” Once the problem is resolved i get back on and ask everyone to take their seats as we will be starting again.  I was told its easier not telling the audience the nature of the problem as in some cases it could cause some to panic, however if we have to evacuate the building i would inform the audience.

57

Stage Management: Plays & Musicals / Re: Calling Mics

« on: Sep 25, 2006, 02:23 pm »

This is one of those things I decided on a show by show basis.  If there is an experienced sound engineer mixing the show chances are I can trust him to do everything properly, if they arent very experience I will call them.  Chances are whether I call them or not I try to have them marked in my script if for whatever reason someone else need to run sound and I have to call them.  I find sometimes if you give the sound guy a little more responsibility to take the cues on their own they take more pride in their work and things get done correctly.  So as I usually say there is no set way to do anything, it all comes down to what will work best for you and the current show at hand.

58

College and Graduate Studies / Re: SM Internships/ACTF SM Prompt Book

« on: Sep 23, 2006, 03:52 pm »

Its just like applying for a job.  Try to apply to as many as possible and if multiple places say they want you great, that means you got skills they are looking for, pick which one sounds the best.  About the dramaturgy thing all I can suggest is when you are applying mention your interest in the cover letter saying something and question about it at interviews.  Its one of those things some places might like the fact you are interested in 2 areas and will be willing to work something out.

59

Students and Novice Stage Managers / Re: director's power

« on: Sep 21, 2006, 07:36 pm »

I agree with Mac Calder on this one, that as the SM your duty is to the show as a whole.  Yes the director is a part of that so you have a duty to him, but you also have a duty to the LD, Scene Designer, Costume Designer, Production Manger, ME, TD, and even the actors (plus some more I probably left out.)  Often on the job I find myself telling directors "no you cant do that cause according to the scene design there's no exit over there, if you want one we need to talk to the scene designer."  As SM you are the informations hub of all things related to that show, so should something come up needing to be changed in any scenario you need to know who all this change will affect.  For example if the director up and decides he doenst like the blue light in the one scene obviously you will need to talk to the LD since its a light but at the same time change that blue light to anything else may make the costumes and set look hideous.

Ultimately I think the show can be forever changing, I admit this can be a pain if one night the LD comes in with 30 more cue's, usually I tell them if you adjust timing or deleting cues not a big deal, but adding cues means i need time to run through the sequences.  So if things need to change so be it just remember your job is to maintain the integrity of the show so make sure the changes are coming from the proper channels.

60

Students and Novice Stage Managers / Re: director's power

« on: Sep 19, 2006, 04:50 pm »

I would agree that changes can be made all the way up until opening.  Granted this can be stressful on the SM if things are changed at the last minute.  A part of previews that I think have been overlooked a lot is that it is a preview so that you can see how the audience takes responds to the show.  In many cases shows preview then perform.  In reality there should be some sort of rehearsal in between as it gives you to the chance to adjust to the audiences response.  In one show I was working on I ran lights and Sound for 2 one acts while SMing and during the run i went to the LD and the director saying that the one light cue had bad timing (to me it didnt sync well with the cresendo in the music cue).  The LD said if I think it will looked better then slow down the timing, so I did and it worked much better.  So ultimately I say you can make some changes all the way through the run of a show, just make sure you it is the proper people making the decision to change it.