46
Tools of the Trade / Re: Should I become a Mac-er?
« on: Jan 12, 2008, 09:20 pm »
I LOVE IT! Only a few problems transferring to excel, and everything else is just fine. It is FUN!
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14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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47
Tools of the Trade / Re: Should I become a Mac-er?
« on: Jan 02, 2008, 10:53 am »
Well, thanks for the advice everyone! I went ahead and purchased one last week! I'm SOOOO giddy for it to arrive (today!) My word of advice to all: don't purchase from the apple store. Research for the best deals (I did Amazon.com) because you can find places where you don't pay shipping OR tax, and sometimes extra goodies can come along with it too. Amazon is a authorized seller so it's safe. Also, buying extra memory and installing it yourself is WAY cheaper than what apple charges. $150 for 1gb from Apple, $60 for 2gb online.
48
The Hardline / Re: Doing It Alone
« on: Jan 02, 2008, 12:20 am »
I like the new avatar, Matthew. I too just discovered the "Simpson-izer" and created a Simpson in my likeness.
And that's exactly it for me, as you said too Matthew. Without an ASM or PA on a show, I cannot perform to the level of detail that I am used to (or prefer ... and expect of myself).
And that's exactly it for me, as you said too Matthew. Without an ASM or PA on a show, I cannot perform to the level of detail that I am used to (or prefer ... and expect of myself).
49
The Hardline / Re: Doing It Alone
« on: Jan 01, 2008, 10:18 pm »
Well, since I was the one who wrote that, it's probably fitting that I comment on it.
The past 2 shows I've done have been this way, and the next show I'm doing will be this way. It's also happened off and on throughout my career, and was almost always the case when I was non-equity. I should mention that all of the instances recently have been on rather small shows, with casts of 5 and under.
So to answer your questions from my experience:
How do you do it?:
I don't know. It just happens. I will say that when I work for larger organizations where I'm the ASM or the SM with assistants, I find that I have forgotten how NOT stressful this job can be. Really, I find it to be quite nice when I have assistants.
How do you prioritize what really needs to get accomplished?
Well, all of it is really top priority, right? But I suppose there are a few things that can be lower on the list. Line notes has to move down the list. Many times I'll try and keep them caught up during the rehearsal, otherwise I know I'll spend all night with them. Often, when not having any assistance, I'll tell the actors upfront that they'll only receive line notes a few times during the process. It's incredibly hard to take them when you're on book, watching props, etc. etc. Another thing that gets pushed down is the coffee setup. I do what needs to be there. They have coffee and cups and creamer. No frills. If they want something special, I let them know that they're welcome to bring it in.
How do you keep the outside hours of work to a bare minimum, and still get everything done?
I keep my laptop at my table like many people these days, and I'm lucky to have a computer with almost silent keys. So when working on the schedule, I can usually do it directly on the computer. Report notes and prop notes can be the same way (though I admit that I always prefer to get them on paper first---I don't totally trust technology). That's the biggest help for me, having the computer there.
How do you function in rehearsals when there is a book to watch, sound cues to run and props and furniture to attend to?
Very carefully. The actors can see that I'm multi tasking x 10 and are usually forgiving if I'm not right there on book. I pause things for scene shifts if something needs moved in rehearsal, or if it's a big thing, suggest we take a 5 (and I always make it 7 so that I can get to the bathroom and refill my water too!) Basically, I just do my best, knowing that I will make mistakes because I'm human and because too much is being asked of me. If the theatre has problems with any mistakes that are made, I'd simple let them know that I was doing everything I could but that to function at 110% I'll need an assistant. That's never come up however. Theatres know what they're asking you to do.
Who supervises backstage during the performances?
Right now, I'm calling the show from backstage since there's no ASM. Other times, and I've had to request it, the main run crew person is on headset backstage. Only a few times (and in smaller independent theatres) have I been calling the show from out front with NO crew backstage. It's scary and it usually leads to problems, but again, the theatre knows what they're getting into.
I can expand on much of this, but I'm not going to right now. I'd be happy to answer any other questions though if you'd like.
The past 2 shows I've done have been this way, and the next show I'm doing will be this way. It's also happened off and on throughout my career, and was almost always the case when I was non-equity. I should mention that all of the instances recently have been on rather small shows, with casts of 5 and under.
So to answer your questions from my experience:
How do you do it?:
I don't know. It just happens. I will say that when I work for larger organizations where I'm the ASM or the SM with assistants, I find that I have forgotten how NOT stressful this job can be. Really, I find it to be quite nice when I have assistants.
How do you prioritize what really needs to get accomplished?
Well, all of it is really top priority, right? But I suppose there are a few things that can be lower on the list. Line notes has to move down the list. Many times I'll try and keep them caught up during the rehearsal, otherwise I know I'll spend all night with them. Often, when not having any assistance, I'll tell the actors upfront that they'll only receive line notes a few times during the process. It's incredibly hard to take them when you're on book, watching props, etc. etc. Another thing that gets pushed down is the coffee setup. I do what needs to be there. They have coffee and cups and creamer. No frills. If they want something special, I let them know that they're welcome to bring it in.
How do you keep the outside hours of work to a bare minimum, and still get everything done?
I keep my laptop at my table like many people these days, and I'm lucky to have a computer with almost silent keys. So when working on the schedule, I can usually do it directly on the computer. Report notes and prop notes can be the same way (though I admit that I always prefer to get them on paper first---I don't totally trust technology). That's the biggest help for me, having the computer there.
How do you function in rehearsals when there is a book to watch, sound cues to run and props and furniture to attend to?
Very carefully. The actors can see that I'm multi tasking x 10 and are usually forgiving if I'm not right there on book. I pause things for scene shifts if something needs moved in rehearsal, or if it's a big thing, suggest we take a 5 (and I always make it 7 so that I can get to the bathroom and refill my water too!) Basically, I just do my best, knowing that I will make mistakes because I'm human and because too much is being asked of me. If the theatre has problems with any mistakes that are made, I'd simple let them know that I was doing everything I could but that to function at 110% I'll need an assistant. That's never come up however. Theatres know what they're asking you to do.
Who supervises backstage during the performances?
Right now, I'm calling the show from backstage since there's no ASM. Other times, and I've had to request it, the main run crew person is on headset backstage. Only a few times (and in smaller independent theatres) have I been calling the show from out front with NO crew backstage. It's scary and it usually leads to problems, but again, the theatre knows what they're getting into.
I can expand on much of this, but I'm not going to right now. I'd be happy to answer any other questions though if you'd like.
50
The Hardline / Re: Cleaning the greenroom
« on: Jan 01, 2008, 10:45 am »
Very nice post, Matthew. You've hit the nail on the head for me. It's about where to draw lines, and something that I think is really important in stage management, so that we don't sacrafice ourselves until there's nothing left of us.
RuthNY- I would mop up the bathroom in that situation because it's an emergency. I would do exactly as you did. Because it's such an extreme situation, I'd handle it. This would also be the case if an actor dropped a jug of milk in the greenroom and still needed to get in costume 10 minutes before go. I'd clean up the milk. Cleaning the greenroom as a daily duty, including doing their dishes, however, is not an emergency. I've made my decision that I can't give in and do this because of other sacrifices I'm making. How I deal with actually discussing this with management I have yet to determine, though they're easy going so I'm not terribly nervous, and luckily I have a rulebook behind me to trump everything if necessary.
Now as far as AEA ASM's not moving scenery--- I TOO want to know how you get the management to understand that! Please put me on the phone tree!
(When having that discussion with them, can you talk with them about the importance of having an ASM or at least a PA on EVERY show, so that the SM is not doing everything by themselves?)
RuthNY- I would mop up the bathroom in that situation because it's an emergency. I would do exactly as you did. Because it's such an extreme situation, I'd handle it. This would also be the case if an actor dropped a jug of milk in the greenroom and still needed to get in costume 10 minutes before go. I'd clean up the milk. Cleaning the greenroom as a daily duty, including doing their dishes, however, is not an emergency. I've made my decision that I can't give in and do this because of other sacrifices I'm making. How I deal with actually discussing this with management I have yet to determine, though they're easy going so I'm not terribly nervous, and luckily I have a rulebook behind me to trump everything if necessary.
Now as far as AEA ASM's not moving scenery--- I TOO want to know how you get the management to understand that! Please put me on the phone tree!
(When having that discussion with them, can you talk with them about the importance of having an ASM or at least a PA on EVERY show, so that the SM is not doing everything by themselves?)
51
Stage Management: Plays & Musicals / Re: Props Question....
« on: Jan 01, 2008, 10:34 am »
With that too, once things are decided, I tend to leave them on the props list and italicize them (and any notes about them) with a note at the top of the page that reads "Props listed in italics are the responsibility of other departments"
52
Stage Management: Plays & Musicals / Re: Props Question....
« on: Dec 31, 2007, 04:04 pm »I would argue that the bags go to props. There are props being put inside of the bags and they are being used as props on stage. If they are simply accessories and are only there for aesthetic reasons I would give them to wardrobe.
Again, I would reference what many posters have mentioned above, that it's not our JOB or PLACE as SM to determine where the items go to. Each theatre will have their protocol for things like this, and even within that, it's the place of the props dept. and the costume dept. to determine this with the help of the production manager if necessary. But, we as stage managers shouldn't make these assignments on our own.
I do agree, however, that most theatres use the same logic that you mentioned, chops. If the item is being used as a prop (a bag, or a purse that's set onstage and thrown, or a shoe that lives onstage in the corner) it will probably go to props. If it's being worn at all, it will probably end up with costumes.
I think it's too bad when the unions get so upset about moving a drum across the stage and everyone thinks it's their job. The unions exist to protect us as artists, and in my opinion, spending 20 min arguing over something like that is petty and unnecessary. Someone just move the drum! Everyone else, enjoy the 10 seconds that it takes for them to move it and have a sip of coffee!
53
Articles from the Old Site / Re: See in the Dark
« on: Dec 31, 2007, 03:37 pm »
Many regional theatres will have a video feed for the show and chances are they will have a night vision camera.
One helpful bit of advice if your company is having trouble with the night vision. (I know this only because the theatre I'm at just had issues with theirs and I was left without it for 2 weeks---which was tough since I called things during blackouts while shifts were underway): For some reason, some night vision cameras stop working if infored listening device systems are turned off or repositioned. If your company suddenly finds their night vision doesn't work, see if they've done anything new with the listening device system.
My theatre had moved to a new space, put up the night vision, put up the listening device system, and all was well. The new listening device headphones hadn't arrived, so they turned off the control for the listening devices. Night vision stopped working. I asked them to restore anything they had done or undone to see if it worked again, and sure enough, it came back!
Just a tip to help you all avoid having to guess what's going on during your blackouts!
One helpful bit of advice if your company is having trouble with the night vision. (I know this only because the theatre I'm at just had issues with theirs and I was left without it for 2 weeks---which was tough since I called things during blackouts while shifts were underway): For some reason, some night vision cameras stop working if infored listening device systems are turned off or repositioned. If your company suddenly finds their night vision doesn't work, see if they've done anything new with the listening device system.
My theatre had moved to a new space, put up the night vision, put up the listening device system, and all was well. The new listening device headphones hadn't arrived, so they turned off the control for the listening devices. Night vision stopped working. I asked them to restore anything they had done or undone to see if it worked again, and sure enough, it came back!
Just a tip to help you all avoid having to guess what's going on during your blackouts!
54
The Hardline / Re: LORT rehearsal/performance hours question
« on: Dec 31, 2007, 01:16 pm »
I think it's much more common for SMs (and actors) to be doing this when freelancing at different theatres than when working for the same theatre (except actors repping of course).
As an SM, I quite often have overlapping closing week/prep weeks, and have mastered the art of prepping while away from the theatre. It makes for a crazy 2 days before prep, and I usually work on the Monday before rehearsals begin to get the room set up, floor taped, purchase any necessary supplies, etc.
As a non-union SM, I did this quite often, and though it's a different situation, yes, there were many concessions made. Of course, the show I was in performance for had to take priority, so I would have to miss some rehearsals and have the ASM take over.
It's also feasible in a company where there is a staff of SMs that an ASM can cover for other ASMs if one ends up having a rehearsal for another show with the company. The sub could sit in on rehearsal, or if the show was light, be backstage for the show while the other ASM was in rehearsal. I've heard of this being done at one major regional theatre that I've been with. I think it's rare, but does happen.
I don't think, personally, that it would make sense to REHEARSE two differnet shows at once, since there will inevitably be big problems once the shows open.
As an SM, I quite often have overlapping closing week/prep weeks, and have mastered the art of prepping while away from the theatre. It makes for a crazy 2 days before prep, and I usually work on the Monday before rehearsals begin to get the room set up, floor taped, purchase any necessary supplies, etc.
As a non-union SM, I did this quite often, and though it's a different situation, yes, there were many concessions made. Of course, the show I was in performance for had to take priority, so I would have to miss some rehearsals and have the ASM take over.
It's also feasible in a company where there is a staff of SMs that an ASM can cover for other ASMs if one ends up having a rehearsal for another show with the company. The sub could sit in on rehearsal, or if the show was light, be backstage for the show while the other ASM was in rehearsal. I've heard of this being done at one major regional theatre that I've been with. I think it's rare, but does happen.
I don't think, personally, that it would make sense to REHEARSE two differnet shows at once, since there will inevitably be big problems once the shows open.
55
The Hardline / Re: Fittings on a Straight-Six day
« on: Dec 31, 2007, 01:10 pm »
I often rehearse a 6 day st. 6 week, and until recently, I had read that rule to mean that the 2 extra hours was the vote. Recently I realized that the vote is actually more about the actors approving the theatre to use a full week of straight 6's and that the 2 hours is the "luxary" that the theatre is provided for doing so.
It's one of those funny rules that's annoying to read, because it can sound like so many different things. I definitely agree, Sarah, that it's best to try and get the fittings into the rehearsal hours if possible instead of having to deal with this rule.
But I am wondering, is this how others are reading the rule too? "The actors by vote have to approve the theatre's use of 6 straight six rehearsals in a week, and by doing so, they allow the theatre to have 2 additional hours for costume fittings". This means that there are 2 votes for straight sixes, one for the use of them in general (in comb. with regular days) and one for doing only straight sixes in a week.
It's one of those funny rules that's annoying to read, because it can sound like so many different things. I definitely agree, Sarah, that it's best to try and get the fittings into the rehearsal hours if possible instead of having to deal with this rule.
But I am wondering, is this how others are reading the rule too? "The actors by vote have to approve the theatre's use of 6 straight six rehearsals in a week, and by doing so, they allow the theatre to have 2 additional hours for costume fittings". This means that there are 2 votes for straight sixes, one for the use of them in general (in comb. with regular days) and one for doing only straight sixes in a week.
56
The Hardline / Re: Fittings on a Straight-Six day
« on: Dec 31, 2007, 11:29 am »
There is a rule that allows for 2 extra hours of fittings (50.C.2.a) in a week of 6 straight six days in a row. There must be a 3/4 majority vote in favor of the the 6 in a row and 2 extra hours, however. This is according to page 53 of the LORT rule book.
You also have to give a 1 hr break between the rehearsal and the fittings, unless the individual actors request to not have one.
You also have to give a 1 hr break between the rehearsal and the fittings, unless the individual actors request to not have one.
57
Stage Management: Plays & Musicals / Re: Props Question....
« on: Dec 31, 2007, 11:26 am »
I concur, RuthNY!
It should, and is in much of my experience, the standard for both depts to look at the items in question, and decide who, for the better-ment, of the production, should take on the responsibility. Where does the item make sense to come from? Who needs to do work on it to make it look right?
It should, and is in much of my experience, the standard for both depts to look at the items in question, and decide who, for the better-ment, of the production, should take on the responsibility. Where does the item make sense to come from? Who needs to do work on it to make it look right?
58
Stage Management: Plays & Musicals / Re: Props Question....
« on: Dec 30, 2007, 06:23 pm »
Also many times it can be a joint effort between the two departments, where props is pulling the item and costumes is making sure it matches, costumes is pulling the item and props is re-covering it, *insert many more combinations*
59
The Hardline / Re: Cleaning the greenroom
« on: Dec 30, 2007, 12:27 pm »
Yes, it is hard to believe that the theatre doesn't have a facilities person assigned to this, but believe it or not, there is no facilities person on staff. The house managers clean front of house...and beyond that, I have no idea who's taking care of any building cleaning!
I clean the coffee supplies up every day. I make the coffee, so I don't mind cleaning it up. Because the crew is overhire for the show, I can't ask them to do something like cleaning the greenroom. I have a feeling that it would not go over well at all, and it's not really their place to do it anymore than mine. But like you, I have people in and out all day long using the fridge, making food, etc. which leads me to believe even stronger that it is out of the question to expect the SM to do this.
I have posted signs reminding people to clean up their own messes and talked to them all in person as well. It helps some, but there's still the issue of the company wanting me to actually wipe the counters down every day, pick up what people leave behind, etc.
I haven't been doing it lately, because I'm not going to, and I haven't heard any comments about it yet.
I'm really interested to hear what peoples thoughts are relating to my original question. Does cleaning the greenroom fall under equity violations, since it is considered a janitorial/custodial task? I think it does since it's a shared space, afterall.
I clean the coffee supplies up every day. I make the coffee, so I don't mind cleaning it up. Because the crew is overhire for the show, I can't ask them to do something like cleaning the greenroom. I have a feeling that it would not go over well at all, and it's not really their place to do it anymore than mine. But like you, I have people in and out all day long using the fridge, making food, etc. which leads me to believe even stronger that it is out of the question to expect the SM to do this.
I have posted signs reminding people to clean up their own messes and talked to them all in person as well. It helps some, but there's still the issue of the company wanting me to actually wipe the counters down every day, pick up what people leave behind, etc.
I haven't been doing it lately, because I'm not going to, and I haven't heard any comments about it yet.
I'm really interested to hear what peoples thoughts are relating to my original question. Does cleaning the greenroom fall under equity violations, since it is considered a janitorial/custodial task? I think it does since it's a shared space, afterall.
60
The Hardline / Re: Cleaning the greenroom
« on: Dec 30, 2007, 11:36 am »
Sorry but I have to disagree with your post. To me, it does matter what people from the network think. That's why I like this site so much. It's a place where I can get feedback, learn what others have done, get ideas for solutions, etc. etc.
Specifically with this issue, I was looking to see if people found this to be something they are typically required or asked to do, or if they just do it, or if it was something that they didn't do due to AEA rules.
I really like that I get a bunch of responses that agree with my stance and others who see it differently. That's exactly what I've posted this for, to get different perspectives and to get ideas for how to handle the situation.
Specifically with this issue, I was looking to see if people found this to be something they are typically required or asked to do, or if they just do it, or if it was something that they didn't do due to AEA rules.
I really like that I get a bunch of responses that agree with my stance and others who see it differently. That's exactly what I've posted this for, to get different perspectives and to get ideas for how to handle the situation.