61
Stage Management: Plays & Musicals / Intro's and Question's :)
« on: Apr 03, 2005, 02:56 pm »
I would reply...but I don't even know what you're talking about...what is devised performance, and what is pre-scripted?
-isha
-isha
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62
Tools of the Trade / stopwatches?
« on: Apr 02, 2005, 03:17 pm »
I'm checking the internet site you gave me......
....We don't have any sporting goods stores.....only a Walmart, Safeway and Albertsons....gotta love living in Eastern Oregon : )
....We don't have any sporting goods stores.....only a Walmart, Safeway and Albertsons....gotta love living in Eastern Oregon : )
63
Tools of the Trade / stopwatches?
« on: Apr 01, 2005, 11:15 am »
Ok..got it. So, big numbers and no beeping.....*goes off to walmart to look for stopwatch that meets criteria*
THANKS!
-isha
THANKS!
-isha
64
Students and Novice Stage Managers / Broadway?
« on: Apr 01, 2005, 11:11 am »
Sorry. I'll try not to be so stereotypical. I didn't really mean it to come off that negative, and I'm sorry that it did...it if offended anyone I'm sorry!
Thank you guys! Your answers really make a lot of sense, and like the rest of stage managing its seems its a lot more personal joy/fulfillment, than "famous places" (to work at.)Thank you for responding...and you guys rock. I hope I can be as good as you guys someday.
-isha
Thank you guys! Your answers really make a lot of sense, and like the rest of stage managing its seems its a lot more personal joy/fulfillment, than "famous places" (to work at.)Thank you for responding...and you guys rock. I hope I can be as good as you guys someday.
-isha
65
Students and Novice Stage Managers / Broadway?
« on: Mar 31, 2005, 01:02 am »
So what is it like to SM for broadway?
I mean what is the difference between a humdrum stage manager and someone on broadway?
It seems like I've heard a lot on this site about regional theater..what IS regional theater? Whats the difference between that and industrial/broadway/international?
what's THE place to stage manage? That If you get there you know you're REALLY good.
What do stage managers aspire to? The perfect show? The perfectly called cue? The perfect theatre?
At what point do you get somewhere and say you are there? Is there even any huge goals like that for stage managers?
-isha
I mean what is the difference between a humdrum stage manager and someone on broadway?
It seems like I've heard a lot on this site about regional theater..what IS regional theater? Whats the difference between that and industrial/broadway/international?
what's THE place to stage manage? That If you get there you know you're REALLY good.
What do stage managers aspire to? The perfect show? The perfectly called cue? The perfect theatre?
At what point do you get somewhere and say you are there? Is there even any huge goals like that for stage managers?
-isha
66
Stage Management: Plays & Musicals / Backstage or Booth?
« on: Mar 31, 2005, 12:50 am »
this is really fascinating. I wonder if it differs with different levels of theater...hmmm...I think I have inspiration for a new topic.
67
Stage Management: Plays & Musicals / Backstage or Booth?
« on: Mar 30, 2005, 12:16 am »
I'm a new highschool stage manager, but I've only experienced it from the booth. I think I would prefer it there. Even though it is in no way calm, you are able to see the stage and anticipate problems better. For mics anyways. We had HUGE mic. problems for the play I just finished, and we had to have our eyes on stage all the time, to know when to immediately lower volume if someone was going to hit someone else in the chest, or move suddenly, it gave us that half a sec. to turn the mic. off before it happened.
We also had a mix up in the light cues that the lights guy didn't catch (a cue was switched, so it had this amber wash when it definetly wasn't supposed to) and I could instantly see the problem. I was able to switch it at a good spot in the script, almost where it looked like it was supposed to be there, and the audience didn't even notice. I wouldn't have been able to do that from backstage.
You really have to have someone backstage that you can trust tho, thats the major downfall. I had a really good techie backstage (on headset), so he was able to do all the backstage stuff for me.
^Not much help..I'm sorry...
We also had a mix up in the light cues that the lights guy didn't catch (a cue was switched, so it had this amber wash when it definetly wasn't supposed to) and I could instantly see the problem. I was able to switch it at a good spot in the script, almost where it looked like it was supposed to be there, and the audience didn't even notice. I wouldn't have been able to do that from backstage.
You really have to have someone backstage that you can trust tho, thats the major downfall. I had a really good techie backstage (on headset), so he was able to do all the backstage stuff for me.
^Not much help..I'm sorry...
69
Tools of the Trade / stopwatches?
« on: Mar 27, 2005, 08:52 pm »
Thanks! Any other brand(s) types/reasons?
70
Tools of the Trade / stopwatches?
« on: Mar 27, 2005, 03:17 am »
I've heard a lot about stopwatches recently. I think someone made a joke about how stage managers all have the same brand. What is "the" stopwatch? Is it "the" stopwatch because it's really accurate, or easy to use, or is there some other rockin' feature?
-isha
-isha
71
Stage Management: Plays & Musicals / warnings verses stanbys . . another poll
« on: Mar 27, 2005, 03:08 am »
do you ever have problems where you don't have enought time to get a "warning" in with all the "go's"? For example, you are cueing something with lights but need to "warn" a special effect in time to get ready. But you can't stop cueing the lights to give a warning or standby to the special effects. Do you just give the warning really early (before the complicated light sequence)? Will the special effects techie then slack off and get distracted because you had to call him so ealy? Or will they just understand that and stay focused? Thats a problem you want to communicate to them, right?
72
Stage Management: Plays & Musicals / Runsheets
« on: Mar 27, 2005, 02:40 am »
hheheheheheh...good solution. I'm sure the IA LOVED that! :lol:
and sorry..I'll try not to pass judgement so quickly next time
I guess professionalism has more to do with attitude than actual physical things.
and sorry..I'll try not to pass judgement so quickly next time
I guess professionalism has more to do with attitude than actual physical things.
73
Stage Management: Plays & Musicals / warnings verses stanbys . . another poll
« on: Mar 24, 2005, 09:43 pm »Quote from: "FallenRain"
Also, you may want to keep in mind that while some of these things may not pertain to the show or space you're using now, you will doubtlessly come upon these issues again if you plan on stage managing in the future.
Hope this helps
Thanks!
74
Stage Management: Plays & Musicals / Runsheets
« on: Mar 24, 2005, 09:36 pm »
thanks guys! That makes a lot of sense.
I guess we haven't really bothered with anything like that here because the actors do all the set changes..(unprofessional and slow, I know..but there is no way we can fit anyone else besides the actors backstage, and at my school the only people interested in tech are the few of us that do lighting, sound and SM.)
I think I'll try using a run sheet next year, even if it's actors using it. Maybe I can post one backstage and it'll make scene changes faster and smoother. hmmm...*goes off to contemplate new knowledge*
I guess we haven't really bothered with anything like that here because the actors do all the set changes..(unprofessional and slow, I know..but there is no way we can fit anyone else besides the actors backstage, and at my school the only people interested in tech are the few of us that do lighting, sound and SM.)
I think I'll try using a run sheet next year, even if it's actors using it. Maybe I can post one backstage and it'll make scene changes faster and smoother. hmmm...*goes off to contemplate new knowledge*
75
SMNetwork Archives / on the other end of the headset spectrum
« on: Mar 24, 2005, 09:28 pm »
got it..thanks guys! I think we might just get the wireless. We don't have enough of a crew to have anybody hooked to one spot. And we (amazingly) get a fairly decent budget from the highschool(with some major prodding and manipulating), so we might be able to take it out from costumes, and borrow from the college for next years play. I'll check up on it.
funny story about headsets:
It was in the middle of the show and I was having trouble hearing my techie/director, even though we checked the headsets at the beginning of the show. So I decided at that point we had enough time before the next cue to find a better channel. I tell the boys to switch to channel 2. It was even worse, so then I tell them to switch to channel 1. Channel one was perfect. So, since we still had a while till the next cue I took the time to ask the director/techie a technical question. I interrruppted him to give the lights a one page "warning" if you will. Jared didn't respond, which I thought was a little odd, but I wasn't too concerned. As the cue got closer and closer I started asking for jared (lights guy) who still wouldn't respond. I'm beginnig to panic (in my head) and I ask the techie/director to run to the light booth and fix it. (I have to stay in the sound booth to call mic cues, because the sound guy didn't have a headset , and wasn't confident enough to do it himself. )So he's(director/techie) totally booking it from backstage all the way up the stairs to the light booth. I'm sitting there praying that he'll get there in time for the cue. As soon as the cue comes I just start yelling GO over the headset. At the very last possible second the cue "GO's."
turns out that the light booth didn't hear me tell them to change from channel 2 to 1, because of how staticky channel 2 was. It gave us all a good scare, but I would have payed 300$ to get a tape of jacobson sprinting down the hall and up the stairs to the light booth :lol:
wow...that was really bad writing..but I'm too lazy to go back and edit it to the right tense, and I think you get the point...
funny story about headsets:
It was in the middle of the show and I was having trouble hearing my techie/director, even though we checked the headsets at the beginning of the show. So I decided at that point we had enough time before the next cue to find a better channel. I tell the boys to switch to channel 2. It was even worse, so then I tell them to switch to channel 1. Channel one was perfect. So, since we still had a while till the next cue I took the time to ask the director/techie a technical question. I interrruppted him to give the lights a one page "warning" if you will. Jared didn't respond, which I thought was a little odd, but I wasn't too concerned. As the cue got closer and closer I started asking for jared (lights guy) who still wouldn't respond. I'm beginnig to panic (in my head) and I ask the techie/director to run to the light booth and fix it. (I have to stay in the sound booth to call mic cues, because the sound guy didn't have a headset , and wasn't confident enough to do it himself. )So he's(director/techie) totally booking it from backstage all the way up the stairs to the light booth. I'm sitting there praying that he'll get there in time for the cue. As soon as the cue comes I just start yelling GO over the headset. At the very last possible second the cue "GO's."
turns out that the light booth didn't hear me tell them to change from channel 2 to 1, because of how staticky channel 2 was. It gave us all a good scare, but I would have payed 300$ to get a tape of jacobson sprinting down the hall and up the stairs to the light booth :lol:
wow...that was really bad writing..but I'm too lazy to go back and edit it to the right tense, and I think you get the point...