Messages

556

Students and Novice Stage Managers / Re: First Hard Show with Difficult Cast -- Please help

« on: Dec 07, 2006, 03:09 pm »

I am all for the cast meeting really. philimbesi's "monologue" was a lot tamer that what I would have said - as a lot of my talk seems to do, it would probably ruffle a few feathers, but here is what I would say.

"My job, as a stage manager, is to ensure this show runs as well as possible. To help you, the cast, and the creative team to provide the audience with the best experience possible. It is my job to make sure you turn up to rehearsals on time, my job to know almost everything that is going on so that I can make sure people are all on the same page, and my job to attempt to solve any problems that come up. How can I do what is best for everyone here, when people REFUSE to act like decent human beings. All I ask of you is that you turn up at the time I have asked, that you call ME - not the director, not Front of House, ME,  if you are going to be late, and turn to me if you have an issue. I am here to help you! I don't do this job for fame and glory, because there is none. I certainly don't do it for the money. I do this job because I love it. Never before have I wanted to just throw up my hands and leave a show, but I can assure you that this one has brought me damn close. I want you all to take a good hard look at what has been going on these last few months. I was told you were professionals. Act Like It! It's not just for me either, but for everyone who does the right thing and turns up on time. Now I appologise for ranting, but I feel it needed to be said. If anyone has an issue with what I have said, then please come and see me."

557

Stage Management: Plays & Musicals / Re: Producing New Plays

« on: Dec 07, 2006, 02:55 pm »

Here is what I would do.

Ask them to "Freeze" the script for a moment to allow you to get everything up to speed.

Format the digital copy so that every line is double, maybe 2.5 spaced, number the lines on a page (I use the format page.line) and put easy to see page numbers in.

After that, track the changes closely. New plays usually evolve constantly, so chances are they will keep changing after the show is in rehearsal. Every day/week/period/major set of changes, hand out a "Changes sheet" - like mentioned by Canuck, however I would format it like so:

Before 14.1 add 14.0.5 "ACTOR: talks about stuff"
Change 14.5 to "ACTOR: talks about stuff"
Remove 14.7
Remove 14.9.5->15.1 etc

I also track the number of changes made to each page, and after 5 or 10 changes, I will distribute a new copy to everyone.

Another important thing is to keep the pages the same. What is on page 14 should stay on page 14, and should not contain anything from page 15 etc.  That means you may end up with a 14A etc.

Keep the digital copy updated, however rename after every change (ie every day, update the script, then save as Script-2006-10-8.doc).

When the script is getting to the point where it is nearly impossible to keep track of due to sub lines, sub pages and massive jumps in page numbers, along with page switches, it is time to think about re-numbering everything and printing out a fresh copy. If you are doing that, ask again that they freeze any script changes for a few days.

558

Stage Management: Plays & Musicals / Re: Thanks for coming out and auditioning, but....

« on: Dec 07, 2006, 02:47 am »

If you did not feel anything, then I would worry that you were not human.

I would certainly try to find out if you can inform the "No"s through another method.

Looking at it from the applicants perspective, I find that when I have applied for a position and receive a letter in the mail, I usually know it is a "Dear John" (ie "thanks but no thanks") and am more prepared for it. Phone calls are nasty though. They usually go something like this:

"Hello, is Mac there?"
"Speaking"
"Hi, it's HRDroid1 from Company 1, how are you today?"
"Fine thanks, you?"
"Can't complain. The reason I am calling is because you attended an interview with us on Day X of Month..."
"Yes?"
"We were really impressed with your application..."
"Thankyou"
"However, I am afraid that your application was unsuccessful at this point in time..."
"Oh..."
"We will of course keep you in mind in case any other position comes up in the near future, if that is okay?"
"Sure. Thankyou."
"Have a good day"
beep... beep... beep...

Basically, there are is a good minute of buildup where you think "Have I got it" whilst the HR Drone (or employer) builds up the courage to tell you "Thanks, but no thanks".

A letter is kinder.

If the company insist on phone calls, NEVER leave them on the answering machine. That is even crueler. Preferably don't leave a message asking them to call you back either.

Get STRAIGHT to the point. I know that the small talk makes you think you are cushioning the blow, but you aren't. "Hello, is XYZ there" ... "Hello XYZ, I am calling from XYZ in response to your interview last week, unfortunately, we cannot offer you a position with our company at this time." THEN do your damage control if you wish.

Write yourself a script - it may make the chore slightly more clinical, and by extension, less personal.

559

Students and Novice Stage Managers / Re: SMgt project

« on: Dec 06, 2006, 02:25 am »

Accredited Blocking Notation

... It seems like you are after some ISO/OTHER STANDARDS ORGANISATION code for blocking. I can tell you now, there isn't one.

In fact, blocking often does not even involve drawing on a plan (depends on the method you prefer). For example, I was taught to put my blocking in words: (example, two characters, Ashley and Terry, there is a table DSP and USOP (Down Stage Prompt (stage left) and Up Stage Opposite Prompt (stage right)), labeled T1 and T2 respectively (on my floor plan).

(1) T -> DSOP/T1
(2) A -> DSP/T1
(3) T hugs A @ DSC/T1
(4) A -> DSP
(5) T -> 2DSP/T1
(6) A exits USP

Which is basically short hand for

Terry crosses to the Down Stage Opposite Prompt corner of Table 1
Ashley crosses to the Down Stage Prompt corner of Table 1
Terry Hugs Ashley, in the middle of the Down Stage end of the table (ie they step together and embrace)
Ashley crosses to Down Stage Prompt (no location defined, so it is relative to the stage)
Terry takes two steps Down Stage Prompt of Table 1
Ashley Exits Up Stage Prompt.

That is the method I use, which could be entirely different to what other people use.

The Stage Management world does not recognise any official standards when it comes to prompt copies, as they are a rather personal thing. There are "de facto standards" - unofficial, but widely used, like the use of Stand By and Go when cuing, but there is no "ISO1100221 - Standard notations for the creation of a theatrical prompt copy" or "ANSI29992 - Standard for theatrical cuing and show control".

560

Stage Management: Plays & Musicals / Re: Reports - Getting actors to read them (from Tools of the Trade)

« on: Dec 03, 2006, 02:08 am »

I suppose it all depends on your companies attitude - however I doubt that there is an issue with the way the content is delivered.

I know a lot of people who no matter what you did, even if you stuck the damn rehearsal report to their forehead, they would not read it. That is "the thing". Calling someone out on "action items" is usually a reasonable way to get your point across. If they fail to get the hint, try a comment like "I spend my time creating these reports for a reason, to help keep you in the loop and tell you of any developments that occurred which may involve you. I do not make them just because I like sending emails. If you have trouble opening the reports, let me know and we can arrange an alternate method, but they ARE essential reading" (you may want to rephrase so that it is not so condescending, and hopefully to lay the guilt on a bit) and if all else fails, stop sending them to them, and then call them up after every rehearsal and read it out to them. Then call every second day to "check on the progress of XYZ". Two things will happen - they will get annoyed with the fact that you are keeping close tabs on them (to which you can reply with "I apologise, but these items need to be dealt with. I would normally have just sent you a copy of the rehearsal report, but time has shown that you do not read them") and two - the items that you needed done, will get done.

I know many people will probably dislike my method - however I am loyal to the show above almost everything (except safety of my cast and crew), and my attitude is that I will do what it takes to make sure that the show runs smoothly for everyone involved, and if it means stepping on a few toes to do so, then so be it. (My current motto is a stage managers job is not to be loved by all, but rather to be the one people know they can turn to when an issue arises and have it dealt with swiftly and efficiently. Being loved by all is a bonus.). Damaged egos can be repaired, however failure to communicated can result in wasted time, wasted money and injury. None of which can be replaced.

Moderation Note:
Depending on how this topic evolves, I may move this from "Tools of the Trade" to one of the more people oriented boards, like Stage Management: Plays and Musicals, or split the topic into two - the more "tool-ish" related part and the "getting the great unwashed to read rehearsal reports" part. It is a tricky one. I have not decided yet. I will sit on it for a while and see what happens, but forewarned is forearmed.

561

Stage Management: Plays & Musicals / Re: Warm-up/ Games

« on: Nov 30, 2006, 02:20 am »

I usually use any warm up period as a time to talk to any "other" members of the company that are not participating (includes ASM/designers etc) and make sure we are all on the same page, make sure everything is in order to start and of course, drink a cup of the nectar of the gods - tea. I also get a few quiet giggles in with the non participants about how silly everyone looks. Then I glance over my "schedule" (which sadly tends to be ignored from the onset, when the director decides to move in a different direction to that which we decided on together prior to the rehearsal), lay out my stationary (if not already done) and sit back and get ready for what will probably be a very long day.

Prior to calling a show, or any time I know I will be talking a lot, I always like to do a decent warm up of my vocal chords, tongue and other muscles involved in the process.

I have never really gotten involved with the "Name Games" - I hate them with a passion unsurpassed. I think it came from when I was in high school and used to attend student conferences etc - which ALWAYS started off with name games.

562

Stage Management: Other / Re: Odd venue, close quarters and blind op's

« on: Nov 27, 2006, 02:31 pm »

It was great fun! I ended up using a number of peep holes hidden throughout the house, as well as gauze paintings in some rooms, and one way mirrors in others. It was difficult at first to remember which room/hole/opening I needed to use when - as some rooms I needed to change angles to see certain actions.

Was it stressful at times? Sure
Would I do it again? In a heart beat.

563

The Hardline / Re: Some wonderings...

« on: Nov 24, 2006, 02:53 am »

Cannot give the union POV, because I have never worked from it, but sometimes I wish I was union. Unions are, as Lilz mentioned, a great way to scare off the "Right, you are mine now, I will make you dance for your supper" type bosses (experience from other industries). Non-union SM, you have to make sure that your contract is extremely specific - because you do not have the backing of the union's rulebook. Thankfully I cannot dance, because I know a certain company (which I will not mention, but am glad to say has closed) was run by a man who believed that everyone owed him because he employed them, and he was not afraid to make people do tasks well outside of the norm (he proposed I also understudy one of the main actors, which would have involved dancing - see the link to the start of the sentence and my comment before... clever  ). In other situations though, I imagine being a union member would be rather limiting, if you enjoy working with small companies/ad hoc performances. I am of the opinion that it all depends on where you want to be down the track - if you want to be on broadway eventually, then union is the only way to go as far as I know. If you want to work fringe - I doubt many of them would be union.

564

SMNetwork Archives / Re: Thanksgiving

« on: Nov 23, 2006, 02:34 pm »

We Aussies don't have Thanksgiving either... So for those of you who do celebrate it - have a good one, don't eat too much, and remember that outside of the theatre, they don't know what "strike" means - so don't ask anyone to help you "Strike the dishes" 

565

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

« on: Nov 21, 2006, 02:54 pm »

My first tech, I was nervous as hell. I was, however, lucky, in that everyone was really understanding and that the Production Manager was an ex-SM herself (so she gave me a bit of a pep talk). The problem I found hardest to overcome, was that I had read a HEAP of stuff on stage management pre-tech, and they all built it up to be a week of blood-shed and tears, so I was scared out of my brain going into it. The bit of pep I was given that helped me most by the PM - "It's only a show, we want it to be as good as it can be, but if you stuff up, it's only a show. And if you are going to screw up, the best time to do it is Tech, because then you wont do the same thing with a full house"

566

Stage Management: Other / Re: Stage Management-TV?

« on: Nov 18, 2006, 01:51 am »

Apparently, (I have never been on TV, worked in TV, or really taken the time to chat to someone who does) - the stage managers most equivalent position (as far as calling etc and managing actors) is called the floor manager (I believe) - the stage manager being an entirely different position... I, like the OP, would love to hear more about TV-land though if anyone has worked there.

567

Students and Novice Stage Managers / Re: Musicals Vs. Straight Plays

« on: Nov 12, 2006, 02:16 am »

I find the main difference is in the way I set up my prompt copy. I usually call from a self made composite of straight lines, vocal score and orchestral score, and that when calling, I tend to use a stop watch more.

The Orchestra (calling them a band will often get you lynched) are usually fairly independent from the rest of the show, which is a blessing and a curse.

I find the calling of the show changes depending on the MD and orchestral setup. Some MD's like to be cued before certain numbers (I don't know many, but I find that in orchestras which are cut down (say 5/10 people plus a whole heap of midi devices or pre-recorded stuff) a couple of MD's like a standby so that they can cue up the equipment). Some MD's want nothing to do with the stage manager, other than to receive a "Go" for the Overtures.

At your level, with a school band/orchestra, you may need to talk to the MD about making sure the band knows proper procedure for tuning and behavior etc. It is an ongoing debate in a number of SM circles, but I am firmly of the belief that no unnecessary sounds should come out of the bands instruments whilst the house is open. That means tuning is fine. It does however mean that a trumpet player should not be playing the star wars theme, whilst a clarinetist practices his/her C-minor arpegios, whilst a bass guitarist plays the mission impossible theme.

High school bands are notoriously unprofessional - I know because I was in one for my entire time at high school, and that involved going to various eisteddfod's, visiting other schools, and touring. Prior to my high school band career, I was in a choir. Choirs, as a general rule, are anally retentive about professionalism when entering/exiting/standing in front of an audience. Most high school bands are shockers. In the corridor outside the hall, trumpets blasting notes, trombones pretending to be race cars etc - all of which can be heard by the front rows. Put them in an orchestra pit, where they believe they are next to invisible, in an auditorium designed acoustically, so that an un-miced voice talking at a reasonable volume can be heard and you are in trouble.

I suppose the moral is to talk to the MD and make sure (since you are a student and I assume the MD is a music teacher of some description) that your concerns re: behavior whilst the house is open are understood, and that the message is passed on and enforced.

Also - find out what form of communication you will have between yourself and MD. Some MD's refuse to use cans (even before show) and all you will have to work with is a cue light. It is hard to convey messages through cue lights, unless you are both proficient at Morse code, so if that is the case, and if at all possible, it may be worth having an ASM in blacks able to act as a runner (if the pit is raised to performance height whilst the house is open) or an ASM at the pit doors if the pit will remain lowered until show start.

The core duties of a stage manager remain basically the same - look after everyone, make sure things happen on time, and enjoy it... Just don't start singing along, because people on cans will look at you funny afterwards... and there is a chance that you might be heard.

568

SMNetwork Archives / Re: Stage managers do make coffee

« on: Nov 11, 2006, 05:41 am »

It is always polite to ask. Whilst it is doubtful that there may be a problem with linking to her site, she may have a more up to date version hosted elsewhere which is not ranked as highly on google or something like that which she wants linked to instead, or any one of a myriad of reasons.

569

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

« on: Nov 11, 2006, 01:24 am »

My opinion is your dome operators should make themselves a cue sheet (or your LD make one up for them.

There seem to be two types of dome ops - those that are used to largely unrehearsed shows (like concerts, festivals etc) and those who are used to a more rehearsed environment. Both seem to be specialties. Dealing with the first variety, they usually work fairly loosely, and are used to receiving conversations like the following through cans:

"Dome 1, pick up Fred Smith, Up Stage Left, open white, upper third. Go!" then they do some fancy flying with the light, and pick them up as they enter.

Rehearsed/More theatrical dome ops usually get "DomeQ1, standby" "DomeQ1, go"

Doing theatre, type 2 is preferable. Turning a type 1 into a type 2 is often not too hard - give them a cue sheet describing each cue, and give them at least 10 seconds standby time.

Usually they do fine.

Turning type 2 into a type 1 is fraught with problems, but that is outside the scope of this thread I guess ;-)

570

Students and Novice Stage Managers / Re: Prompt Book Help

« on: Nov 10, 2006, 06:54 pm »

No Change is all about major changes - that means things like re-blocking an entire scene so that it is totally different from what it was before. A few minor changes here and there are fine, but as a general rule, nothing extremely complex.

At the level of theatre I work, I see a lot of "Unprofessional" directors who "just want to try X", and the concept of a no change date is necessary. At a professional level, I am sure most directors are reasonable people, who know that major changes a day before opening is just not going to work. I enjoy working on semi-professional shows which means directors who are unrealistic.

You say a good lighting design will have an element of flexibility in it - that is true. Most do. However there is no way you can accommodate huge changes in a lot of shows at the "lower end" of the scale. I am talking minimalist sets, fully conventional lighting in a black box. Proper use of colour, light, dark, shade and segmenting with light is necessary. Someone moving 10 steps left, could mean changing the angle of light X degrees which will then throw out EVERYTHING before it because the balance of the lighting has changed. The show may be the directors vision, but it is not fair on everyone else - especially the other designers, and the actors.

Of course there are changes that need making due to the translation from rehearsal room to stage, but they are generally minor - 4 steps to the left and two forward sorts of things, and hopefully all figured out during plot.

Of course a show is never set in stone (that is what makes theatre marvelous), but it certainly helps to lower the stress levels when you ask the director to get the show into a form he likes before the tech commences, and I find gives a more polished show with less stuff ups (by me, the cast or the crew)