Messages

481

Employment / Re: more about resumes

« on: Nov 13, 2006, 07:51 pm »

I do the following:

Theater
Show Title        Position      Director      Theater     Date

Dance
Company          Position      Director/ Choreographer    Title      Date

Since I was a resident with a company for several years, I have given that a separate section and I don't list the theater's name each time.

482

The Hardline / Re: Use of Technology (Videotaping Performances)

« on: Nov 11, 2006, 08:31 pm »

I say, it can't hurt to ask.  This kind of thing is done is dance ALL the time.  You might have to make a new request each show and have the cast sign a waiver.

When I have had to get special permission for filming/ video taping before I have had to go through several drafts of the agreement with AEA.  So start your requests early.

483

Stage Management: Plays & Musicals / Re: Calling Spot Light Cues

« on: Nov 11, 2006, 11:26 am »

In some larger houses, it is true that a lead spot op calls the cues.  But most of the time when I have SMed w/ spots (or run spot myself), the spot ops follow a cue sheet as described by the posts above and the SM called a simple version w/ small reminders like Ruth said.

484

SMNetwork Archives / Re: Nutcracker

« on: Nov 06, 2006, 03:03 pm »

Whenever I have done plays or ballets with lots of children, I send a form to the parents and make each parent (or set of parents) volunteer to kiddy wrangle for one rehearsal or performance.  If you can have one for each of side the stage and at least one to watch the dressing rooms, that can help a lot.  Just make sure you talk to them about appropriate backstage behavior.  (no photos, where to stand, no cell phones, etc)

Also set up a TV/ VCR in the green room for the kids.

485

SMNetwork Archives / November Holidays

« on: Nov 06, 2006, 11:32 am »

Check it out.

http://www.holidayinsights.com/moreholidays/november.htm

And niftily enough, my birthday is "Chaos Never Dies Day"

486

SMNetwork Archives / Re: Who makes the best SM's?

« on: Nov 05, 2006, 09:53 pm »

Well, this conversation actually brings about a more complex question.

Who is the best stage manager for a certain type of director?

Straight woman SM with a gay man director . . . nice combo

Straight woman SM with a straight woman director  . . . potential for diaster

Gay woman SM with gay man director . . . even more potential for diaster

Straight man SM with straight man director . . . even even more potential for diaster

Floor lamp SM with gay man director . . . depends on where the floor lamp was purchased

487

Students and Novice Stage Managers / Re: Rehearsal Suggestions

« on: Nov 05, 2006, 11:48 am »

To add to #4:

For the love of pete, turn your pages quietly!!!!!!!!!!!!!

488

Uploaded Forms / Re: Actor/Scene Breakdowns

« on: Nov 04, 2006, 05:24 pm »

Organizational problems  . . .

Props tracking was challenging, but with two ASM's it went pretty well.

The biggest problem was making sure that we had all of the people on time and ready to go and gathering people after breaks.  I didn't want to institute a sign-in procedure for every rehearsal, so we did a lot of head counting and searching for that one person that wandered off during break.

Even though it was a complex show, it actually all went pretty smoothly.  Due to the intensity of the script I was very diligent about prep, so I knew the script REALLY well even before rehearsals started.  This was very helpful for me and the director throughout the process.

The character map was so helpful, I will definately do it again on my next big show.  (My current play has only 2 people and 4 props, so I am living the easy life right now.)

489

Students and Novice Stage Managers / Re: Website for the show

« on: Nov 04, 2006, 05:11 pm »

I have made websites for the past couple of productions that I have SMed.

I put the daily rehearsal schedule in text format on the site, as well as images of the calendar, train schedule, and cast list.  No contact info, of course.

I also posted photos that I took in rehearsal (with permission).

I included links to the production company's site and the director's theatre company.

You can also provide links to dramaturgical info (though I personally have not really had time for that).

On one of the shows, the director was also able to post on the site (using blogger) so the cast could read his thoughts pre-production.

490

SMNetwork Archives / Re: Drinks, Teas...

« on: Nov 01, 2006, 12:37 pm »

For making prop alcohol, I have used the food color used in cake icings.  There are a variety of colors and it has no flavor.  It also doesn't give you the nasty froth you can get from powdered ice tea.  You can get it at a craft store like Michael's.

491

SMNetwork Archives / Re: Essential Theatre Books

« on: Oct 31, 2006, 02:56 pm »

A good one for those of us who tour internationally:

Theatre Words (available at http://www.theatrewords.com/)

It list all common backstage words in bunches of different languages and has diagrams w/ multi-lingual labels.

492

Tools of the Trade / Re: how essential is a kit?

« on: Oct 31, 2006, 02:23 pm »

After touring for so many years and not needing a kit (who needs a kit when you can have a whole road box?), I am thrilled to be carrying a kit again.  The theatre supplies most first aid and office-y items, so I can stock my kit with odd but useful items like common prop items that pop up all the time (like a syringe, a small bell, a fan, skeleton key).  I love it.  Even if you only use something once a year, it is always a thrill to have something right there when you need it.

493

Tools of the Trade / Re: latest toyes...

« on: Oct 31, 2006, 02:12 pm »

"Ah, I remember when I could fit my show in a three inch binder - now I am having trouble putting it all into a five inch binder. . . I will soon begin looking for a six inch binder."

Matt, sounds like you need to split things up.  Script in one book, paperwork in another.  A 6" binder might require a weight belt and a heavy lifting clause in your contract.

To answer the various topics-

Binders:
I too have a Trapper Keeper-esque binder with lots of pockets (and a clear pouch on front that zips on 3 sides and has pockets.   It's amazing.  And it's orange!  It doesn't have a handle, though, so now I'm jealous.

Sharpies:
-I am not crazy about the mini's (cute, but the clip part on the cap comes off).  But I DO love the click sharpies.  I generally carry an odd color one that I can easily spot it if someone takes it.

494

Uploaded Forms / Re: Actor/Scene Breakdowns

« on: Oct 20, 2006, 03:39 pm »

I apologize if this ends up as a duplicate post.  My browser has been acting up.

Anyway.  I just finished a production of Serious Money by Caryl Churchill.  20 actors, 50+ characters, 20some scenes.  I created this character map to keep track of character doubling and scene breakdowns.  I used it to help create rehearsal schedules and costume tracking and quick change info.

Enjoy. PDF format.  The whole document is too large so here's just Act I.

495

Stage Management: Plays & Musicals / Re: Out On Tour

« on: Oct 20, 2006, 03:35 pm »

Touring is a great experience.  It is tough and surprising.  It can be a challenge to adjust to always sleeping in a new place.  It can be a challenge to deal with SAME problems in EVERY venue.  But you meet lots of great new people and get to see places you might not see otherwise.

Your questions about driving, housing, etc should be addressed with your producer.  It varies from company to company. 

If the tour is traveling abroad you will need a passport.  You will also need to get the appropriate working visas.  The company manager may or may not be able to take care of that for you.  Something to ask the producer about.

Yes, the size of cast and number of shows make a difference.  The move you have to keep track of the harder it is no matter what.  More props or costumes that might get left behind.  More performers that might all get the flu at once.  But on the other hand, more people to hang out with you don't have to have breakfast, lunch and dinner everyday with the exact same person.

About driving.  If you are not willing to drive, say that up front. But just know, they might not give you the job if you are not willing to drive.

I have had amazingly wonderful experiences on tour.  I have met great road crews and bonded with my casts.  I also have focused lights curled up in a ball in a chair when I had a fever of 102 degrees but there was no one else to replace me.  You take the good with the bad and realize that no matter how good or how bad, in a day or two your are packing up and moving to the next venue.

Questions to ask on your interview:
-What would your title be?  SM/ LD or SM/ CM or SM/ props, there are lots of variations. Find out exactly what your duties will be.
-Ask about your housing.  Will you share a room?
-How long is the tour?  Are there weeks off between legs?  What kind of prep time do they offer?  What do you do during weeks off?
-Will they give you a cell phone or reimburse your minutes for work calls?
-How many crew members travel with you?  Who advances the scenery and lighting?

Ok, that should get you started.

Touring is great!  You should definately try it out.
Oooh, I almost forgot.  My favorite part of tour: hospitality.  Always remember to snag a few extra granola bars at the end of the day in case your next stop is bleak in the food department.  I used to stash granola bars and water bottles in my road box for emergencies.