Messages

526

SMNetwork Archives / Re: I could have kissed them!

« on: Dec 11, 2008, 10:31 pm »

I could have kissed my producer when...

...during an oddly but highly stressful week of rehearsals of a play I hated with a cast of women driving me up the wall, I answered honestly when my producer asked, "How are things going?"...after a long and detailed 5 minute explanation he answered back, "Lemme buy you a beer." Awesome gesture, even if I don't drink 

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SMNetwork Archives / Re: I could have kissed them!

« on: Oct 04, 2008, 10:11 pm »

I could have kissed my PSM when I was an intern at NSMT when I asked permission from the director if I could get on stage to clean up a spill (the actor he was talking to was onstage and I didn't want to be a disturbance or a distraction). The PSM noticed and, during a meeting with the production crew, said that you never have to ask permission to do your job, everyone's job is equally important. Then he sent a little smile my way. It was this little thing that gave me confidence that, as young as I was, I had a right to be there and do my thing.

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Tools of the Trade / Re: Food prop question

« on: May 19, 2007, 06:13 pm »

I definately like the meatloaf portion idea; much easier on my budget as well as my cooking abilities.

I did a Google search as well and found a seller on ebay that sells a variety of fake foods, steak is $3.95 + $6 S&H. For anyone else that is interested, the seller's store is called RND Store.

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Tools of the Trade / Re: Food prop question

« on: May 18, 2007, 10:27 pm »

I would say half the steak gets eaten. It's served on a dinner plate with a fork and knife.

My question is would shellac work? Would it really keep the meat from rotting??

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Tools of the Trade / Food prop question

« on: May 18, 2007, 11:29 am »

I wanted to get opinions on how I could make a prop steak, a portion of which gets eaten every night. The challenge would be to make it look like one cohesive piece of meat. I've had to shellac a large loaf of bread before and thought of doing the same thing to the uneaten portion, but I have a feeling that wouldn't bode well. Something similar might work...any thoughts?

531

SMNetwork Archives / Re: I'm New

« on: Apr 30, 2007, 11:45 pm »

I had an interview with C-West not too long ago and discussed the possibility of SMing for Royal or Disney after Aug 1st. I thought it would be a good idea to try once and see how I like it. I think I have a good chance of an offer.

Kevin - do you think SMing for a cruise line is something you can do for 6 months, then break for a month, then work 6 months again, etc?

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Students and Novice Stage Managers / Re: How do I audition for SM at a college?

« on: Apr 25, 2007, 02:21 pm »

You're going to be judged primarily on your paperwork/books and your personality. Having photos from productions is fine but you will want one or two examples of rehearsal reports, performance reports, run sheets (if you make those), rehearsal calendar, etc - plus a few sheets from your books with a good example of how you write blocking and call a show.
As for personality, you'll want to show that you are professional, mature and in control. They will ask you some typical questions that you will want to know beforehand: tell me a challenge you've had with a production...tell me about a stressful situation where you had to make a quick decision...tell me a good example of how you've worked well as part of a team...From these questions your interviewer will determine whether you can deal with stress, with different personalities, whether you make efficient decisions that get the best outcomes and whether you would benefit (and they as well will benefit) from having you in their program.

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Stage Management: Plays & Musicals / Re: No longer spoiled

« on: Apr 05, 2007, 01:00 pm »

The drinking was more or less half-serious...But I'll have to see how tech goes   

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Stage Management: Plays & Musicals / Re: Dressing For The Part?

« on: Apr 05, 2007, 09:57 am »

When I was a PA it didn't matter what I wore, so long as I can still operate a screwgun, crawl under and around the set and not whine that I messed up my 'pretty clothes'...so generally black overalls (you laugh but they had a TON of pockets and have lasted me over seven years) or jeans, t-shirt and boots with hair pulled back. Blacks for performance days of course. I didn't think twice about my wardrobe change much when I phased into SM and I never had a director look at me twice in my outfit choice, but I became increasingly self-conscious when my directors would introduce me to other directors, outside producers, actors...I'd meet these people, be in conversation and think to myself, "I wish I had put more time into my appearance this morning."

So now for auditions and first rehearsals I dress for first impressions: my hair down or nicely pulled back, clean pants or jeans and dressy-casual top. When rehearsals are in full swing I dress more comfortably for changeovers but still presentable for those 'just in case' moments. In performance I'll wear nice pants or nice jeans, and a cami underneath a nice top--the cami for those last minute fixes to the set i have to do or any dirty work--the nice top for after the show when I'll meet producers or other directors. It's all about landing the next job, and one of those people I meet might be the one to give it to me.

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Stage Management: Plays & Musicals / PROFESSIONALISM: No longer spoiled

« on: Apr 04, 2007, 04:36 pm »

I knew I was spoiled. I have worked at amazing companies with brilliant casts in fantastic productions. I knew the production to 'unspoil' me was just around the corner...

I am ten days from Hell (tech) Week. Here's what has happened so far:

1. The company producer/director is also one of three actors and she cannot for the life of her separate herself from being a director and an actress, so it's like there are two directors running the show. It got so bad that during one rehearsal, when the director was out of town and I was having them run lines, she tried to change the schedule, the blocking and the furniture placement. When I said she couldn't do that without speaking to the director personally, she gave me attitude, at which point I had to say, "If you were my director and you were out of town and your actress was doing that, you would want me to tell her no, too."
2. So far my director has still not managed to give the final go-ahead on the set design because she keeps changing it. Ditto with hair and makeup. Another reason is--after the director talks to the actress/producer/director about the set design (why talk to an actress about set design?), she goes to the set designer and alters the design to her specs. When the set designer calls the director and tell her what happened, the director tells him to go ahead and change it. To my knowledge this has happened at least twice.
3. I wrote the director an email, stating the problems with the actress/producer/director were effecting the other actors and their performances. The director seemed to listen, but I have yet to see positive results. As a matter of fact, they BOTH now seem to be running rehearsals, with the actress/producer/director having the final say, either because the director is babying her or she wants to work with the company again and isn't going to argue with her.
4. I had to talk my hair/makeup artist off a cliff because she was ready to quit weeks ago due to the aforementioned problems. She said, and I quote, "If you tell me to stay, I will stay--but I'll only do it for you." This girl has worked Broadway and she's never had to deal with this type of drama before.
5. Did I mention the actress/producer/director is so busy with being the unofficial director that she is STILL not off-book? I caught the other actress rolling her eyes and giving her the finger when she broke character, ran off stage and took pages from her script to speed-read aloud. I can't say I blame her.
6. Because she hasn't learned her lines and the director doesn't treat her like a regular actress and ream her for not doing so, the director added several rehearsal days. So instead of working 4 days a week everyone gets to work 6 days a week.

And we're not even into tech yet.

After we open, I am skipping the opening night party, going straight to the bar with my other producer (who is the polar opposite of this woman, he's awesome) and my makeup artist and getting drunk...and I've never been drunk in my life! (honest!!) That's how much this show has worn me down.

I'm so glad I have a place to put this down and vent.    Thank you guys!

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Students and Novice Stage Managers / Re: The Ultimate Decision

« on: Mar 29, 2007, 11:20 am »

My dad--who hates the idea of me working in theatre--first introduced me to "Phantom of the Opera" (I know, I know, but I was eight or nine). I would steal his tapes and listen to them over and over; I didn't know what the staging looked like but my imagination made up for it.
My freshman year of high school I auditioned for Midsummer with a friend because she was nervous and we both got small parts. I took Theatre Production (twice), Theatre History and Drama classes, mainly because I knew I was so shy that I HAD to force myself out of my shell. Acting was more cathartic for me than anything else, but I knew I wanted to 'run the show' so to speak. I took a year off after graduation to take an internship at NSMT, just to see stage management in the 'real world' and I was still hooked. After that I applied to CCM and was accepted.

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Stage Management: Plays & Musicals / Re: Keeping it Straight with BIG CASTS

« on: Mar 23, 2007, 08:29 am »

Just remember that if you can't keep their names straight that the cast members themselves are probably having the same problem too. For a cast that large, when you start rehearsals be sure to make up name tags for everyone and have them wear them for at least the first week of rehearsals. It'll help out everyone, including you.

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College and Graduate Studies / NC School of the Arts

« on: Mar 16, 2007, 09:09 am »

Can anybody give me the lowdown on North Carolina School of the Arts' SM program or the school itself? Your likes and dislikes, the facilities, the professors, the jello in the cafeteria...it's all appreciated

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Tools of the Trade / Re: Anyone have to pre-rig milk cartons?

« on: Mar 15, 2007, 10:44 am »

Sounds like you've exhausted the options. How about giving the actor several of the cartons to take home and 'practise' with?

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Tools of the Trade / Re: Keeping Spike tape down...

« on: Mar 05, 2007, 05:08 pm »

After you put down your spike tape and you're 100% sure that's where it's going to live, cover it with clear tape on top. I don't know if it'll hold as well on tile but it's worth a shot.