Messages

571

Students and Novice Stage Managers / Re: Prompt Book Help

« on: Nov 10, 2006, 03:48 pm »

This is where you start setting No Change dates. BalletPSM mentioned no changes to blocking during tech. If you have had a decent length rehearsal period, I would go so far as to say "No MAJOR changes" 1 week before you move to tech. It may annoy the director a bit, but the LD and actors will love you for it.

As an LD, my process usually involves familiarising myself with the script, then about 3 weeks in, going in and watching a few scenes, seeing how the director is interpreting, as well as talking through my vision with the director for each scene. I also make sure to talk through the limitations - like if there are very few lanterns available, I might say "Well I was thinking of using an almost vertical light on X, on a dark stage, to give a feeling of isolation, however if it is done that way, we will need to reuse the lantern we used in the Y scene, which means they will need to be DSL." - hopefully the SM takes notes of these sorts of things so that when I come back to view the last week (I try to attend all of the last weeks rehearsals) I can adjust my designs to fit. Once we are in the space though, apart from extremely major problems - like those BalletPSM mentioned - I get very angry if blocking changes - as there is not much I can do to change the lighting without re plotting the show.

I may be unique in the way I work though.

Communication is the key.

572

Students and Novice Stage Managers / Re: Rehearsal Suggestions

« on: Nov 10, 2006, 03:36 pm »

  I always think of it as my job as SM to think about everything the director isn't

Beautifully put! That is exactly it!

573

Stage Management: Plays & Musicals / Re: Stop The Show!

« on: Nov 10, 2006, 12:44 am »

The question that should be asked, instead of "Should I have stopped the show" - in my opinion, Yes, but I am paranoid about overhead hazards, is "Why was that gel frame not installed correctly/not safetied in.". Modern lanterns have gel frame rails with a safety clip at the top, so that all four sides are secured. With correct installation, that means that three sides are fully secured, and the TOP side has a spring loaded clip. It is ALMOST impossible for one of them to fall out, if the lantern is properly maintained and rigged correctly. In cases where the nifty little gel frame clip was not present, the gel frame should be attached to the lantern - by using a small safety wire, or (the cheaper, less permanent solution) a cable tie.

My basic rule of thumb - if there is a chance that something may fall from above head height, clear the stage, secure it so that it cannot, then reconvene. Gel frames can cause serious injury. I have seen them embedded in hardwood floor, after being hit off by a fly bar being lowered. Imagine if that was someones head.

574

Stage Management: Plays & Musicals / Re: Splitting the jobs between co stage managers

« on: Nov 09, 2006, 02:56 pm »

Strange that you should strongly not recommend it, as it is actually the way a number of companies I know in Australia do it, and it works wonders. They traditionally run a 3 month season and 3 month rehearsal proccess, and all of their SM's are company SM's, not show based (which I suppose makes a big difference here, because it means that is what they are used to).

SM1 attends all rehearsals, does all the "SM duties" and is often just called the RSM (Rehearsal Stage Manager), whilst SM2 (Calling/Production Stage Manager) comes in for maybe 2 rehearsals near the end, the production meetings, and meets the SM the day before tech.

Tech week I call the handover, because RSM and CSM are both working at the same time.

CSM deals SOLELY with technical stuff, and from Tech Week onwards is basically the SM in charge. RSM basically makes sure that the actors are comfortable, and that all the props made it from rehearsal room to stage (so working closely with the ASMs to make sure everything there is ready), then basically sits next the the CSM for tech and makes sure they know everything they need to know.

The system works well because you end up with two highly specialized SM's, and a year long continuous run of shows.(nb: this system also usually involves "ownership" of a room or venue. The three companies I have seen using this method had multiple theatres and rehearsal rooms, so an SM basically "belonged" to a theatre.

575

Students and Novice Stage Managers / Re: 8 rehearsals 'til tech week and i can't sleep

« on: Nov 06, 2006, 06:46 pm »

Try a little psychology on yourself: "If I keep worrying about the show when I should be sleeping, chances are I will be useless when it comes to fixing these issues."

My body clock is stuffed due to working theatre - some times I don't sleep for days, some times I sleep whilst it is light outside, and sometimes I sleep when it's dark, so I bought an exercise bike the other day at a garage sale for $20. Now, every time I want to get some rest, I ride. After a decent stint of peddling quickly, I am so exhausted that I just flop down onto my bed and sleep. As a general rule, a stage managers will be mentally tired long before they are physically, yet whilst they feel physically fine, their brain does not want to let them sleep. Concentrating only on riding, my mind gets a small break where all those worries are pushed aside, and by the end my body is exhausted. And when the body is exhausted, the brain can only think of sleep.

Prior to that, I was fairly reliant on sleeping pills if things like breathing exercises, meditation and tea did not work. Talk to a doctor - many of them will prescribe a decent strength pill to those who have trouble sleeping when working odd hours, or are just in capable of sleep.

576

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

« on: Nov 05, 2006, 08:15 pm »

Between "Floor Lamp" and "Straight Women" -> which is about the same level as the down stage left flat.

577

Tools of the Trade / Re: What goes inside a SM Kit?

« on: Nov 05, 2006, 12:20 am »

Before people go out looking at buying kit stock - just look around the house - That is how I started.

As a general rule, you don't need a whole packet of sewing needles - so take 2 or three from your sewing kit and put them in a match box. You also don't need a full range of thread - a black and a white are usually fine. If you have a set of screwdrivers, take one straight, and one Phillips head out. Take a few band-aids out of your medicine cabinet, some cotton wool balls etc.  You can build a fairly comprehensive kit for a beginner just from stuff lying around the house.

As time goes on, you just start accumulating things as you need them.

All those people who put aside $200 or something for their kit will probably find that they don't use half of it.

578

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

« on: Nov 04, 2006, 03:41 am »

No - Stereotypes are based upon perception, not fact.

Ie - I could make the stereotypical observation that all women lighting designers are gay, because I know about 20 gay female lighting designers.

Stereotyping is dangerous. It takes a small sample of a population and uses them to create a view of the whole.

Another stereotypical observation that comes to mind is "Modern playwrights do not write plays for the enjoyment of others, but rather to attempt to show off exactly how 'deep' they are" based on the last 5 plays I have seen  that were written in the last 3 years.

579

Students and Novice Stage Managers / Re: Prompt Book Help

« on: Nov 03, 2006, 04:36 am »

I am also a member of the three/four ring binder club (although recently I have found myself being forced into using 2 ring lever arch binders), however I don't use the back of any pages. I put a white page between each page in the script for blocking/notes/et al. All it means is I have to turn two pages instead of one.

580

Stage Management: Plays & Musicals / Re: Actor Calls

« on: Nov 03, 2006, 03:58 am »

Does AE have call times defined in it's contracts? I have heard rumours our Australian Actors Equity does (I don't work equity, so I don't know).

581

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

« on: Nov 03, 2006, 03:52 am »

I think it does not matter. I have seen excellent men, and excellent women. I have also seen crap men and crap women. As a general rule, men will approach things in a different manner than women, however both are effective, and both are capable of doing an exceptional job.

582

Students and Novice Stage Managers / Re: Rehearsal Suggestions

« on: Nov 03, 2006, 03:49 am »

Recently a new SM asked me to provide him with some good rules for rehearsal-what he should/shouldn't say, etc.  After giving that to him, I thought some folks might find it useful.  (Just so you know, I'm a professional SM currently pursuing my MFA so I've been doing this for awhile.    )

1.  Most directors want stage managers to be seen and not heard.  Unless you're asked, you should never offer your advice or an opinion.  You never want to tell a director how to do their job-you can offer the problem, but don't offer the solution unless you're asked.

I disagree with this point. Whilst I NEVER offer creative suggestions unless asked, if I see a problem, ie something just will not work (ie an action requires defying the laws of gravity etc) I will point it out, as well as possible solutions - taking care to never seem like I am influencing the way the show actually looks. I am also strongly of the opinion that we are more than just the directors Personal Assitant, and that whilst the creative control is in the directors hands, I will take charge on the organisational front - which means that I will call out for order, I will make announcements at the start and end of rehearsal etc and inject comments on things the director may not know which could prove valuable to everyone.

2.  Try to anticipate the director's needs and requests-it's super helpful if you can be one step ahead.  I always love it when a director asks me to take a note for a rehearsal report and I've already noted it.

3.  Never answer a question with "I don't know".  If you honestly don't know the answer, say "I don't have that information right now, but I will get you an answer as soon as possible."

These two fall together - I could not agree more, although your offered phrase is a bit long. I usally say "I don't know off the top of my head. I'll get it for you later" - and write it down as I say it.

4.  Try not to fidget immensely or create lots of excess noise during rehearsal.  Un pack everything you'll need, unwrap any snacks, etc.  Lots of directors are noise sensitive.

Good point. It is common courtasy - you expect the cast to pay attention to you when you speak, the least you can do is not interup them.

5.  Make sure you know where all the lights are as well as temperature controls-as much as possible you want your rehearsal space to be well lit and comfortable.  If you don't have control over the temperature, find out who does so you know who to talk to.

In addition - during extream weather conditions (ie quite hot or cold), make sure you (or someone else) can get there an hour or two early to put on the heater/AC. Also, rehearsal rooms can quite often become musty in smaller venues - it is worth opening the windows a few hours before rehearsals too.

6.  NEVER bash a director in front of your cast, or a cast member to an actor.  If it's happening and you're present, simply don't take part of the conversation.  If someone asks your opinion, change the subject or just say you'd prefer not to comment.

I would go one step further, and stop the conversations. That sort of behaviour should not be tollerated - especially in professional settings. I mean these things have a way of getting back to the person they are about.

The saying "Sticks and stones may break my bones, but words shall never hurt me" could not be more wrong. About my 6th show, a teen theatre (all cast and crew < 18yo), there was an actor who was bi-sexual, and was probably the worlds largest flirt (although I now know, from a reliable source, that he was a virgin). Well, one day I was in the rehearsal room, doing some pre-rehearsal paperwork, when a few of the cast came in and were bagging this actor. I did not say anything, partly because I was not paying close attention, and partly because I was still not an overly confident SM and did not want to desert my cast. The actor came in barely a minute later and heard almost the entire "bagging" session. I saw no ill effects - I did appologise to him for not stopping them, but he waved it off. I thought the matter closed, no harm done. 3 months later he had slit his wrists. Words are powerfull, and a bit like water. Their effects may not be seen instantly, but over time, and with lots of them, they wear people away.

This list could go on forever, but these are some of the immediate things I thought of.  I hope this is helpful to others!

583

SMNetwork Archives / Re: Drinks, Teas...

« on: Nov 02, 2006, 02:30 am »

It is not so much a power trippish issue. It is the fact that whilst part of our job is to make actors comfortable, there are so many more issues deserving of our time. Small theatres, the on stage drinks are usually made by the SM or ASM.

Now I am unsure about the rest of the people here, but I usually make the quantity I will need on the night, whilst doing my pre-show work (I rarely have access to a fridge for storage, and I am against the serving of stale water). Frankly, tea is the most time efficient, and the easiest method.

If actors do not like tea, then I am open to alternatives, however if it is anything more complex than placing an item into water, or if it involves making large quantites (ie due to the strength of one ingredient) then the logistics will probably end up being the actors responsibility, because I believe that my time can be better spent else where in most shows - like making sure everything is ready to go.

Re "the joy of making something 'work' when it was thought not possible" - true, it is enjoyable, but tea WORKS. It is not dangerous, it does not have any ill effects upon the actors, all they have to do is put up with the taste.

584

SMNetwork Archives / Re: Drinks, Teas...

« on: Nov 01, 2006, 09:31 am »

In the grand scheme of things, it really does not matter if your cast likes tea or not. Their job is to drink it - a minor discomfort - no way comparable to other discomforts that are faced on a regular basis. My (personal) response, in situations where a cast member says "It tastes yucky" would be to say "Well, if you can find an alternative, we will use that, otherwise, buck up. You only have to drink it X times a night."

I know finding another alternative would be preferable, but there really is not much that gives the right colour. You could try mixing coke and water and leaving it to go flat, I suppose, although that still will not be the best colour. Ginger beer is also an option - once it is flat. But I think you will find people prefer the tea over flat ginger beer.

585

Employment / Re: reworking resume

« on: Oct 30, 2006, 01:41 am »

I would probably suggest chronolgical order grouped by position, ordered by rank (lowest->highest), with specialist positions at the bottom - so that would be ASM, SM, PSM then TSM with the earliest of each position at the top, and the most recent post in each position at the bottom, if you have more than 10 shows you are going to list. If you have less than 10, I would suggest chronological.

My main motives behind that sort of organisation is that it shows how you have evolved as a stage manager - even if chronologically that is not true.