Messages

61

Students and Novice Stage Managers / Re: Rehearsals: Giving line notes - a real novice question

« on: Aug 14, 2014, 04:01 pm »

I prefer to email for several reasons.

• I type a lot faster and neater than I hand-write
• if an actor says "I didn't get that note" I can point them directly to the email
• I have a record, so that if notes are consistently repeated, I can remind the actor that they have received it multiple times, and maybe work with them to find a better way to remember it
• the director I have worked with the most prefers to be copied on line notes, because if he received it then the actor definitely received it so they have no excuse to not address the notes (plus just seeing his name in the CC section can intimidate some lazy actors into actually doing their work

62

The Green Room / Re: Tragedies and other space invaders

« on: Aug 12, 2014, 10:05 pm »

I had a performance of A Commedia Christmas Carol on the night of the Sandy Hook shooting. We knew we weren't going to cancel the show, but we were concerned about how it would be received. Are these people in the audience tonight because they already bought their ticket, not because they really want to be here, and will their minds be understandably preoccupied? Or are these people here tonight because they need something lighthearted, they need to be reminded that there is good in the world, they need to find a reason to laugh tonight?  Across the cast and crew everyone was having varying reactions, so we knew that everyone outside of our universe would also be responding differently. I know we had an actor or two who really didn't feel all that comfortable going on that night because they were so upset, but the feeling from most of the cast was that they needed the show that night more than ever. So we went on and hoped for the best.

That night was probably our smallest house in the run, and as we predicted, there seemed to be varying degrees of responses among patrons. Overall it was generally positive. This was at a small company that always does a curtain speech at the end (if you liked it tell your friends, if you really liked it there's a donation bucket in the lobby), so when Scrooge made his speech that night, he made a heartfelt remark about the arts, particularly comedy, bringing people together in times of tragedy. There probably were some folks in that house tonight who came just because they had already spent the money, but they weren't really in the mood to watch something so silly. But for the most part I think the audience appreciated it and agreed with that sentiment.

63

The Hardline / Re: Meetings as rehearsal hours?

« on: Aug 09, 2014, 04:36 pm »

To be honest I don't know who my rep is or how to contact them, as I've never needed to before... I actually don't think I've ever PSM'ed a show with an Equity cast before, only ASM'ed. How would I find out who to contact - is it based on my city, the type of contract (which I need to find out)?

64

The Hardline / Re: Meetings as rehearsal hours?

« on: Aug 09, 2014, 12:58 pm »

Unfortunately, since I only just joined the production, I have absolutely no idea what may have been said before I was CC'd on the emails. But I do know that the director expects the cast to be off-book by first rehearsal... and is planning these meetings before first rehearsal/before they receive contracts... :\

And in a production meeting on Wednesday the scenic designer/TD was asking for his contract because he wants to start building ASAP, and the PM said "yeah we're working on them, we'll have it ready by first rehearsal Tuesday. Maybe I can email it to you Monday night." And the PM is out of town right now, the weekend before rehearsals start. Excellent timing.

I had heard generally positive things about this company, but now that I'm actually working here it's kind of a disaster. I'm not sure how much of it is the director (who is an outsider to the company, but she's a Tony-nominated and Obie-winning actress, she should know how this works) and how much is the disorganization of the company, but I'm not impressed.

(And VSM, I may only be 28, but even I know of Lost in Space!)

65

The Hardline / Re: Meetings as rehearsal hours?

« on: Aug 08, 2014, 02:54 pm »

Ok, thanks. That's what I thought but you explained it more clearly so I was able to bring the issue to the PM and Artistic Director.

AD says that the cast was made aware of these meetings a long time ago (so, before I was involved in the production), that these are "unofficial" meetings and they have all agreed to do it for the director.

So glad to have been looped in on that one...  Still ruffles my feathers a bit but if they have all offered to volunteer their time, I guess they're allowed to make that choice...

66

The Green Room / Re: How to be a good stage manager?

« on: Aug 08, 2014, 02:03 pm »

I'm Anne Sullivan and the show is Helen Keller?!?

67

The Hardline / Meetings as rehearsal hours?

« on: Aug 08, 2014, 01:49 pm »

I'm about to start rehearsals on a show where 4/7 of the cast are non-Equity, and 3 are performing on... well, I don't actually know what contract it is, I haven't seen that sort of paperwork yet. I joined 6 days before first rehearsal... it's been hectic. But the bottom line is, the AEA actors are allowed 30 hours a week. So we have 6 five-hour days scheduled each week.

First rehearsal is this coming Tuesday. But the director wants to meet with each actor for an hour on Monday, and on Sunday apparently the MD wants to meet with the entire cast for 60-90 minutes and introduce them to the musical world of the play and maybe jam out a bit, but not really work music from the show.

Am I correct in my understanding that, since these meetings are required, we will have to cut 2.5 hours of rehearsal later in the week for the AEA actors? I get the impression that the director feels that it's not ~Rehearsal Time~ per se, therefore it isn't ruled by the contracted hours... but I feel like, if we are telling the actors that they must be on site for these meetings, then that counts toward their 30hrs?

Also, these meetings are on Sunday and Monday before a 6 day work week, which means (if this actually counts as working hours) actors will be working for 8 days before a day off...

68

Stage Management: Plays & Musicals / Re: Sharing Paperwork with ASMs

« on: Aug 04, 2014, 08:12 pm »

I'm happy with dropbox for most things, but as an ASM, I want my run sheets in google drive. I can export it later for sake of having it all in one place, but I need to be able to edit run sheets on the fly during tech, and the easiest thing is to have it open on my phone. This is so much more convenient for me than carrying around paper and pencil (plus I don't have to go back after rehearsal and type up my notes, if I can just put it in my phone immediately). If we're coming up on a shift that we've never teched before, I want to be able to quickly type up who is assigned to every aspect of the shift, and exactly what they do. So I make sure all crew/PAs/PSM are invited to the google doc, I maintain it, and then once everything's actually set I'm happy to export it to Excel and save that in the dropbox... but it's just so convenient to edit the spreadsheet from my smartphone!

69

Students and Novice Stage Managers / Re: Rehearsals: Giving line notes - a real novice question

« on: Jul 22, 2014, 02:03 pm »

My preference is to use a word doc or google doc version of the script. I take notes using a color-coding system in the document (and save a version for each day), and then after rehearsal I go through and put them into an excel workbook. Every actor has their own sheet in the workbook, and the form has the character name, page number, type of note, actual line, and what the error was. In the error line I will occasionally give the entire thing they said if it seems necessary, but in general I'll use it for things like "said you instead of thou" or "dropped (whatever line they dropped)" or "called line multiple times - please look over this section" or "your signing is unclear - touch base with the DASL" or "mispronounced magisterial - ask me if you need to hear it."

Edit to clarify: I then PDF each actor's sheet and email it to them directly, rather than send the whole document to the entire cast and expect them to wade through it to find their own stuff.

70

Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!

« on: Jun 17, 2014, 02:19 pm »

Anybody have a copy of Lieutenant of Inishmore? Thanks!!

71

The Green Room / Re: The Stage Manager's Nightmare

« on: Jun 14, 2014, 01:28 am »

Doing a very bloody show and we're developing a little bit of a bug problem. Last night I dreamed that the blood effects were bug effects instead. Like IV bags filled with bugs, enemas filled with bugs, strawberries filled with bugs, sponges with bugs crawling through the holes.... If I never see an earwig again I'll die happy.

72

Stage Management: Plays & Musicals / Re: REPORTS: Including Human Error

« on: Jun 11, 2014, 03:13 pm »

I've actually been told that I am too specific with my calling notes. I used to try to be too thorough and would have things like "SQ 21 was one beat late" which I've come to realize is overkill, especially when it's a cue with a 40-second fade. I was trying to hold myself accountable, but I realized that nobody cared about insignificant things like that. So I've tried to pare it down and will only note the ones that matter. It just took me a while to decide which ones matter.

For instance - I call the lights-up after a blackout too early, and actors are seen exiting the stage? That needs to be noted. I screwed up and therefore what the audience saw is not in line with what the director wanted. If it was a calling error, it's my fault. However, if the sound board operator accidentally doubletaps, that's the operator's error and will be noted as such. Same way I'd note if an actor screwed up: "actor forgot bag of coins on the prop table. Since he can't pay his scene partner without the coins, he improvised the line 'hang on, I have to run to the bank,' exited to pick up his prop, and then continued the scene." or whatever.

Basically, if it makes the performance work differently than it's supposed to, it's worth noting. Especially if it's my fault - I'm responsible for making it all run smoothly, so when I screw that up I need to admit it.

73

Job Postings / Re: Dc fringe

« on: Jun 11, 2014, 02:03 pm »

Do you have the actual performance dates and times? I already have one low-key, one-man Fringe show, but would be willing to take on another if there are no performance conflicts.

74

Introductions / Re: Greetings from South Carolina!

« on: May 15, 2014, 03:58 pm »

Super delayed response as I've been away from the forum for a while and am backlogging now. But my sister graduated from Coastal (musical theatre) in 2013. I saw a couple of her shows down there, seemed like a pretty good program! Have fun!

75

Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!

« on: Dec 10, 2013, 12:42 pm »

Anybody have an electronic script of Our Town? please PM. thanks!