Messages

526

Tools of the Trade / Re: Your own headset

« on: Jul 23, 2010, 02:54 pm »

Hi Dee4156,

Have you checked out this resource created by Mac Calder?  This is a pretty comprehensive index of headset/comm posts on the site and includes a few posts about headsets as well as a couple of websites from which you can purchase your own headset. 

Also, once you figure out which brand you want, you may check for local dealers of that specific manufacturer.  They may be able to sell to you at a cheaper price than you can find online. 

527

Employment / Re: Work On A Cruise Ship?

« on: Jul 16, 2010, 09:02 pm »

If you have any specific questions that haven't been answered in previous posts don't hesitate to ask.  I've been in the cruise industry for a bit over four years and have worked in some capacity with most of the major cruise lines.  I'm actually about to head into the woods for my annual camping trip, so I will not be able to answer you until next Saturday/Sunday at the earliest, so apologies in advance for any delay in response!

528

Tools of the Trade / Re: PROPS: irish car bombs

« on: Jul 08, 2010, 11:45 pm »

Well shoot, if it were me I'd prefer the real thing

How about some milk (soy, nonfat, whatever your cast requires) with a touch of chocolate syrup for the baileys.

For the whiskey, tea?

Rootbeer + milk + tea sounds pretty disgusting. 

Tough prop drink!  Hopefully someone can put forth a better idea than mine.

529

Tools of the Trade / Re: Paperless World

« on: Jul 07, 2010, 09:29 am »

We have gotten away from the original poster's initial question, but I think this is certainly a valuable discussion.  In my opinion the role of the digital callboard and "paperless world" lies somewhere between the two extremes.  Those that argue that a traditional paper callboard is outdated are ignoring restrictions that can be present in a rehearsal room or on productions.  Those that argue that a digital callboard has no place in theatre are ignoring the realities of technology.

Valid points have been raised on both sides of this argument and I have experienced both extremes.  In a University setting where everyone has internet access 2, 3, 4 times a day (yet may not go near the rehearsal room where the paper callboard is located) I found a digital callboard to be remarkably effective for communicating changes to schedule and posting resources for designers to use.  When I was SMing professionally on ships where about 5-6 people in a department of 60 had regular computer access a digital callboard would have been pretty silly to attempt; paper was clearly the most effective solution. 

The purpose of a callboard (paper, digital, whatever) is to communicate information.  Communication involves a sender, a receiver and a message.  Your job as the sender is to ensure the message is received and understood by the receiver.  Selecting the right media to use for your specific situation or production requires some flexibility, but as always the best managers are those who employ a flexible management style that can change and adapt to the needs of a situation.

Thre are advantages and disadvantages to both.  Kay and Matthew have both highlited some of the potential stumbling blocks of an entirely digital setup while Grasshoppr84's company seems to have found a solution that not only works but presents an opportunity for cost savings.

At the end of the day it's about evaluating the needs of the company and choosing the right tool for the job.

530

Tools of the Trade / Re: Hand/head sets for light use in Spain

« on: Jul 05, 2010, 01:10 pm »

Hi,

Thanks for the replies, appreciated. I hadn't considered wired, it's a thought. Hiring also may be a possibility but the nearest city likely to do this is a three hour round trip. I just need simple, relatively silent communication from myself backstage to FOH and lights/sound. There won't be a lot of two way chatter as it's basically just me calling the cues and checking the audience status.

Will take your advice and search the site, many thanks,

Bob 

Hi Bob,

Though the city is a three hour drive they could ship them to you via courier.  If you have enough notice and can do standard ground shipping it will be fairly inexpensive! 

531

Tools of the Trade / Re: Paperless World

« on: Jul 03, 2010, 01:10 pm »

       
   The other key component of this project is the elimination of the paper callboard.

What a terrible idea!

Scott - can you please elaborate here?  Slamming the idea as terrible without offering the reasoning for your opinion does not contribute much to the discussion! 

532

Stage Management: Plays & Musicals / Re: REHEARSALS: On Location in NYC

« on: Jun 24, 2010, 11:42 pm »

Per diem is subjective and depends what you need it to cover.  My company (non stage management or theatre) provides a per diem of $40/day domestic and $85/day international.  This is to cover meals.  Lodging and travel are paid for by the company.  $40/day is great in a place like Salt Lake City, but once you hit Vegas, Miami or New York that money goes up in smoke fairly quickly... 

You said they supplying housing, have you discussed transportation or do you have a plan?  All things to consider. 

533

The Green Room / Re: Tony Awards

« on: Jun 14, 2010, 08:52 am »

Everyone's a critic it seems.

How often does your first preview go off without a hitch?  These guys get almost no rehearsal time; enjoy the show for what it is.

534

Stage Management: Other / Re: Re: Risk Assessment

« on: Jun 14, 2010, 08:42 am »

Is this a "lawyer thing" or does it actually have basis in reality?

Risk analysis is used in just about every field of industry.  It is used extensively in many disciplines.  It is not used terribly often at the Stage Manager's level in theatre because in all honesty the risks we incur are relatively low compared to something like designing a jet airliner or building a nuclear power plant.

Many business also use this to determine "risk" when deciding undertaking a new venture or project.  i.e. what is the potential negative impact on a business's operation.  Risk analysis is often used in conjunction with cost/benefit analysis to determine if the potential benefit outweighs the potential loss in regards to a specific project/venture.

Insurance companies of all kinds also base their entire actuarial tables around mathematically calculated risk.

So yes - this absolutely has a practical basis in reality, it's just not something we as stage managers encounter terribly often in the theatrical world.  The risk analysis for your show is done at an executive level long before the Stage Manager even sets foot in an audition room!

535

Tools of the Trade / Re: Excel tips

« on: May 05, 2010, 08:43 am »

Some of the ones I use frequently are:

Conditional formatting.  Great for picking out data from a big list that meets a certain set of criteria.

Data validation.  More of a financial feature, but one useful thing for SMs is you can create a "drop down" list.

Group.  Allows you to group columns or rows of cells together, and easily collapsing and expanding the group to hide or show the information.  Great for contact sheets where some information may be confidential - you can easily collapse all sensitive info, .pdf it or print it, and none of that information will show.

536

Tools of the Trade / Re: iPad: What do you think?

« on: May 03, 2010, 08:23 pm »

Also noteworthy: fully 51% of the lighting boards I work with still have floppy drives as the only means of backing up/exporting/importing data.

This is a touch off topic - but the reasoning here is that quite simply the theatres you're working at haven't yet or can't afford to upgrade.  It's been probably been at five years or more since a console with a floppy drive was made. 

537

Students and Novice Stage Managers / Re: When to take the blame

« on: Apr 27, 2010, 09:23 am »

All the textbooks and all the mentoring I've ever had have explained to me that fault and blame always always always lie with the stage manager.

I couldn't disagree with this statement more.  There is rarely sense, honor or benefit in admitting fault or taking blame for something over which you had zero control.  I think nmno and Rebbe's earlier comments are on target.  Focus on moving forward and resolving the issues without directly admitting fault or taking blame.  Now, if you did actually screw up that's another story entirely!

538

Students and Novice Stage Managers / Re: TD Unconcerned with Safety

« on: Apr 22, 2010, 11:17 am »

Safety of course is priority number one.  Prohibit the cast from rehearsing on a set that is not safe.  Put in your rehearsal report what needs to be fixed and note prior requests you've made to the responsible parties.  Make sure the Production Manager and Producer see the report.

539

Stage Management: Plays & Musicals / Re: COSTUMES: Wardrobe Malfunction - Hold the show?

« on: Mar 15, 2010, 08:49 pm »

Had I been the SM I would have had the male take off his pants, had them repaired during the 15 while onstage as a female, then gone with a quickchange in the 2-3 minutes offstage.  (Even if the costumer was gone an ASM or SM should know basic sewing in my opinion, for situations just like this)

I don't agree, however, with the SM's decision to hold and then criticize you for the hold.  As tempest_gypsy pointed out it's the SM's choice to hold or not, and the fallout for that shouldn't come on your shoulders.

540

Students and Novice Stage Managers / Re: Question about resume...

« on: Mar 15, 2010, 08:42 pm »

Do you need the credits on your resume?  Is the project big enough to want to put on your resume?  If the answer is so, then I would put it down - marking it somehow (never opened).  At least it will lead to an interesting conversation at an interview.

I'd definitely second this advice.  Something that can lead to a conversation is invaluable on your resume.  So many resumes are boring, bland, mundane - hiring managers or production managers will look at your resume and look for something different.

I once interviewed a guy who had "long-tail cat wrangler" under his skills.  It was a great conversation and I got to hear his personality.  Combine a conversation starter with your abilities and skills and you've certainly got an inside track to a job.