601
Stage Management: Other / Re: Spiking a Dance Floor
« on: Aug 19, 2011, 05:57 pm »
what he said
WWMSD, right?
WWMSD, right?
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602
Stage Management: Other / Re: Spiking a Dance Floor
« on: Aug 19, 2011, 03:02 pm »
try paper/painters tape
603
Stage Management: Plays & Musicals / Re: communicating who is called for a rehearsal
« on: Aug 15, 2011, 12:43 pm »
You also don't need to be afraid to grab the director after rehearsal and sit down quietly as/after the cast goes (not while you are trying to get the cast to gather and settle), having let the cast know you will be calling/emailing (depending on their techie-ness) that night abt any changes to the next day's sched. That will also allow you to 1) be the voice of the sched and 2) give everyone a heads up that things may, and often do, change, so you aren't worried abt someone not checking email until several days later. That means at the end of reh, you can still read out what's on the calendar, but remind them that they will receive an email/call within abt an hour if there are any changes, so they become aware of not making assumptions.
Yes this may entail a few more phone calls (hey, before most folks had computers, that's the way we all did it) but it will help forestall confusion and those cast "oops'" PLUS it keeps everyone in the loop.
Also, if you know certain actors tend to gravitate toward making plans when there's a TBD and especially they haven't been called for a few days, it's always appropriate to pick up the phone and give them a heads up rather than assuming they know.
Yes this may entail a few more phone calls (hey, before most folks had computers, that's the way we all did it) but it will help forestall confusion and those cast "oops'" PLUS it keeps everyone in the loop.
Also, if you know certain actors tend to gravitate toward making plans when there's a TBD and especially they haven't been called for a few days, it's always appropriate to pick up the phone and give them a heads up rather than assuming they know.
604
Stage Management: Plays & Musicals / Re: communicating who is called for a rehearsal
« on: Aug 13, 2011, 03:41 pm »
yes - cuz even in community theatre, where things are mapped out far in advance, there are little nightly shifts (you know, the "we don't actually need Big Jule tomorrow, can you let him know you have the night off"/"please check if Sarah can start an hour early tomorrow" kinda stuff).
and - break legs!
and - break legs!
605
Stage Management: Plays & Musicals / Re: communicating who is called for a rehearsal
« on: Aug 12, 2011, 11:41 am »
Part of the problem is that the director is, in fact, doing your job. Not sure what the solution is since he seems to be unable to relinquish doing it, but at the very least that sit-down over the calendar with him is vital - both for the initial calendar and for the nightly review of who is called the next day and for what, and while he may not get out of your way here, at the very least your reviewing specifically who is called for what at what time at the end of each rehearsal followed by a company email might alleviate some of this.
606
Stage Management: Other / Re: SMing on a Cruise Ship
« on: Aug 09, 2011, 02:17 am »
I started to do a copy/paste but there are too many threads that cover this topic - if you search the term "cruise," a slew of references will pop up from the various folks on this board who work on cruise ships, including a lot of tips and hints and info. Give it a go - and congrats on the job!
607
The Green Room / Re: What Kind of SM are you?
« on: Aug 05, 2011, 05:46 pm »
I have been yelled by a producer at for being an actor's SM - cuz in this venue the actor's protection is so vital - and I have also been told I am a director's SM, but I have producers who request me too, because I always try to see things from the producer's side when I have to justify or explain something that needs to happen.
I do try to remember, actors and SMs are fellow-members of AEA and, at least in theory, the "moms" /caretakers on the actors' team, even when they don't get what we do....
I do try to remember, actors and SMs are fellow-members of AEA and, at least in theory, the "moms" /caretakers on the actors' team, even when they don't get what we do....
608
Self-Promotion / Re: Candide in Boston
« on: Aug 01, 2011, 10:36 am »
do keep us apprised on changes/improvements/losses - it has been one of my faves forever! (as mentioned, I've done it three times, once as Cunegonde, once as the Old Lady and once in what was a track that included nuns, townspeople and sheep). That score never gets old -
609
Self-Promotion / Re: Candide in Boston
« on: Jul 31, 2011, 05:59 pm »
I Love Love Love Candide - have a blast! - I've done the show three times as a performer and once as crew, and I would love to SM it - the music is magical and addictive, the play funny and absurd. Are you doing the Prince revival from the 70s, the original Bernstein or then newer update?
610
The Green Room / Re: Trivia Tournament III - 2.0.11
« on: Jul 31, 2011, 03:00 am »
weird, says I didn't answer one of the qqs, but I know I clicked - ah well, there goes my perfect score....
611
Tools of the Trade / Re: Headset/ClearCom trouble
« on: Jul 27, 2011, 09:24 pm »
do your boxes have batteries? The clearcom systems used at one theater gets nasty and static-y whenever the batteries start to go.
612
Students and Novice Stage Managers / Re: Should I be responsible for tellling an actor he's been demoted?
« on: Jul 27, 2011, 12:07 pm »
Actually, this is the director's job (or, in a professional production, the producer or artistic /assoc artistic director) - even in a school situation, we have no "hiring/firing" authority and it is a rotten thing to hand it off to you when it is not the SMs job. Let him/her do his own dirty work! You are absolutely there after, to help the actor deal/move on, but not to do the deed.
613
Stage Management: Plays & Musicals / Re: Calling cues for the spotlight operator
« on: Jul 24, 2011, 01:57 pm »
Interesting how many variants they are. The bottom line is, do what works for you and for the show. If you can trust spot ops, great (again, all of us keep copies of the spot cues and specifics, some fold in warns/standbys) - if they don't generate their run sheets, I give them a blank w all pertinent info and expect them to fill it in and give me a copy. As mentioned, I will say something if corrections need to happen (iris in, hold it steady, good work, etc).
On the big shows and tours I've done, the ME who traveled with us called and trained the spots on a separate channel for all except one big musical, when I prepped and called spots in each city (and, oh yeah, we had no ME on that tour). And there was one show in a house with no clearcom and tons of spot cues, so I had to train them during tech/previews, and then trust them to know the show.
On smaller and school-based shows, I call all spots.
With one company where I regularly SM, I train and warn but they run their own spots.
You can change midstream too, starting with too much info (blonde girl in yellow crossing from UL to UR), cutting back as your ops learn the show or you find they can handle it. But your voice as a back-up is always appropriate.
Regardless, it makes for a busier show, which is always a nice thing.
On the big shows and tours I've done, the ME who traveled with us called and trained the spots on a separate channel for all except one big musical, when I prepped and called spots in each city (and, oh yeah, we had no ME on that tour). And there was one show in a house with no clearcom and tons of spot cues, so I had to train them during tech/previews, and then trust them to know the show.
On smaller and school-based shows, I call all spots.
With one company where I regularly SM, I train and warn but they run their own spots.
You can change midstream too, starting with too much info (blonde girl in yellow crossing from UL to UR), cutting back as your ops learn the show or you find they can handle it. But your voice as a back-up is always appropriate.
Regardless, it makes for a busier show, which is always a nice thing.
614
Stage Management: Plays & Musicals / Re: Calling cues for the spotlight operator
« on: Jul 24, 2011, 03:45 am »
I have had all three situations: Master Elec called spots, I called spots, spots took cues themselves. It depends on so many things - how complex is the show, how long do you run, how tight are spot cues, how big is the cast etc.
Of course, it's easier when the ME calls the spots, but if you don't have that luxury, think abt how to best name the spots - ABC or by the spot ops names - and how to minimize words while making sure the cue is completed correctly. Either way, your spot ops need to make sure their personal run sheets are complete enough that all you need to say is the cue, they take care of size, color etc - you may need to make minor adjustments like an iris in or out, you shd just be able to call the cue without details.
I've also had situations with the spot ops calling their own cues, but I still call them in the warn or the standby.
Of course, it's easier when the ME calls the spots, but if you don't have that luxury, think abt how to best name the spots - ABC or by the spot ops names - and how to minimize words while making sure the cue is completed correctly. Either way, your spot ops need to make sure their personal run sheets are complete enough that all you need to say is the cue, they take care of size, color etc - you may need to make minor adjustments like an iris in or out, you shd just be able to call the cue without details.
I've also had situations with the spot ops calling their own cues, but I still call them in the warn or the standby.
615
Students and Novice Stage Managers / Re: Tech week signage
« on: Jul 23, 2011, 09:58 pm »Quote
Run Orders Everywhere!!! (Dressing room, green room, hallways, Upstage L/R, Downstage L/R...)
assume Nick is talking abt show order/run sheets - yeah, tons of these too - posted backstage, in the dressing rooms, in the hallways, lots and lots of them so no matter where they are, the kids know where in the show they are