Messages

616

Tools of the Trade / Re: Favorite Deck Flashlight?

« on: Sep 22, 2006, 05:06 am »

A maglite's performance (battery wise) often depends on the batteries used. The ones that came with my maglite (Duracell alkaline IIRC) lasted 6 months (used quite for about 10 mins a day I would say). Then I replaced them with cheap alkaline batteries, which I had to replace every 2 or three weeks. Different batteries are suited to different purposes. Have a bit of a google for what sort of battery you should use for torches - I cannot remember off hand because I switched to rechargable alkalines to save money.

As for preventing "switchons" I find that by using rechargeables, and changing the batteries every week, it does not matter if my maglite switches on, however the pouch does help to prevent them.

617

Students and Novice Stage Managers / Re: director's power

« on: Sep 21, 2006, 04:58 pm »

Either way as the SM, imho you work for the director and if they want to be that unprofessional you can object, but in the end… you help. 

You see, there I disagree. I feel the SM's duty is NOT to the director, but to the show - which I feel is an important distinction.

The director is still an employee of the company, and basically their sole job is to have a vision of how the show will appear, and direct people to make it happen. Your job is to basically make sure everything works well, and keep the directors feet on the ground (no we cannot fly those actors from the counterweight fly bars etc) whilst enabling them to put across their vision.

This is where I think schools and universities do a great disservice to theatre. Most of them do have directors at the upper tier, as the director is usually the one organising the show, and it does lead to new Stage Managers comming out into the world and being Directorial Lap Dogs in a way. As SM's, we are largely responsible for OH&S - and an SM being a "Yes (Wo)Man" scares the hell out of me in that respect. Above I inserted the bit about flying actors from counterweight scenic fly bars. I have been asked about flying actors from them at LEAST 30 times by directors. Now that is an extreame example, but what about when it comes to things that are only "slightly unsafe" - narrow stairs with steps that are not deep enough, and too high for example. Completely against regulations, and chaces are nothing will happen - but it is still extreamly dangerous.

618

Tools of the Trade / Re: What is Gaffer Tape?

« on: Sep 21, 2006, 07:16 am »

You can get gaffer tape in a wide range of colours too. I bought some flourescent pink today for use on a set. Marvelous stuff, Gaffer tape/

619

SMNetwork Archives / Re: Essential Theatre Books

« on: Sep 20, 2006, 04:49 pm »

I am not a fan of "Forms and Formats" - I like to customise my paperwork on a show by show basis, and feel that pre-made forms look tackey. It is a decent source of ideas I suppose, but I would not purchase it.

620

Students and Novice Stage Managers / Re: Working with a new Director?!?!

« on: Sep 20, 2006, 03:19 am »

I think the most important thing to do is be prepared when you first meet them, be confident (shake their hand firmly etc) and ARANGE A TIME TO SIT DOWN AND TALK.

A guideline of the sort of thing that should happen:

SM: Hi, I am <YOUR NAME HERE>, your SM for the show.
D: Hi, pleased to meet you, I'm <Directors name here>.
SM: Great to meet you. Before we go any further, can we organise a time to sit down and talk about how we want things to run in the near future?

There are a few important things in that dialogue. 1: Introducing yourself first, and your position gives a sense that you are proactive (I took psychology in High school... who'd thought it would come in handy). 2: You are efficient - by making the meeting the first thing you discuss, it shows that you get down to business, before you proceed to other endevours. I have worked with an SM who always liked to do those things at the end of a conversation - as a by-the-way sort of thing and it was quite annoying. 3: You are subtly setting the ground-rule that any important meetings should take place in a structured meeting as opposed to them walking up and wanting to chat with you (whilst you have to get to a meeting with props or lighting or something - trust me, it happens).

Then, after organising the meeting, I would try and steer clear of show talk, and just 'talk about the weather' for a while - since most of your time in the rehearsal room will be spent shadowing the director so that you don't get left out, it is important that you connect on a personal level, and not just a professional level.

That is how I usually do it. I also like to email any SM's who have dealt with the director in the past to get some info from them too - however since you are entering a new environment, it is doubtful you will know any SM's who have worked with the director there.

A lot depends on your overall attitude and demenour. I do not really make friends easily - however I generally make aquaintences easily within a work type environment (am well liked, however when the show closes, that's that, we part ways and life goes on) - I am a bit standoffish and introverted, and my style of dealing with people reflects that. Other SM's are extreamly extroverted, and they work with that. Work with what you have got, and try and get your relationship with the director to be at the point where they will come and see you first when they enter the rehearsal room. Because when that happens, you know you have a great relationship with the director.

621

Stage Management: Plays & Musicals / Re: How to keep kids *quietly* busy at rehearsal when they're not needed onstage

« on: Sep 18, 2006, 09:26 pm »

Kid's are difficult. You really need to check out the kids - some times you end up with a responsible lot who will watch and observe or bring their own entertainment, others will not be quiet no matter what you do. I agree with (in part) putting the onus on the children. You are not a daycare. That said - bring along a hand full of books and maybe a couple of puzzle magazines.

622

Students and Novice Stage Managers / Re: director's power

« on: Sep 18, 2006, 09:18 pm »

It is a difficult position.

From an LD point of view, I hate it when people mess with my designs - in fact, if I remember correctly, most contracts for LD's (I know mine fall in this category) do not transfer copyright to the company (most LD's are sub-contracted, so they do not fall under the "Company employing the worker owns the copyright" law) and as such, the LD is most likely able to sue the Director for messing with his copyrighted works. However I don't know US Law, and I don't know the contract between the company and the LD. There is also the arguable point that as the LD will be credited for the design that he could sue the company for damages should he loose any business due to the director destroying the design.

From the SM point of view - after tech, no cues should be added or removed and only slight changes should occur to lighting (namely overall intensity etc, not a change in style). So from that point of view I would be against it as well.

The directorial boundaries are often not formalised, however it is an unspoken rule that whilst the director is responsible for the direction and vision of the show, the individual designers have a certain level of ownership over their areas. Any changes the director wants to make go through the designer. So basically - it is just like a director working with actors. A director does not move actors like manequins - lifting their arms, pushing them etc - he tells them what he wants portrayed, and the actors interperet it, and portray it. It is the same thing for lights/sounds/etc.

So your director changing the lighting without the designers consent and knowledge is a breach of etiquette, however there is usually no rule (appart from the chance of infringing on the laws I mentioned) within the directors contract that says they cannot.

623

SMNetwork Archives / Re: Leatherman

« on: Sep 18, 2006, 09:59 am »

Your local camping/outdoors shop will probably have them, and if not, they will be able to order one in for you. Leatherman are such a well respected brand that any camping store worth it's salt will have them.

624

The Green Room / Re: Snacks

« on: Sep 18, 2006, 09:57 am »

Popcorn. It is cheap if you invest in an air popper (AU$30 for an air popper and iAU$0.99 for a bag of popcorn kernels). Cheap snacks, easy to make en mass.

625

Stage Management: Plays & Musicals / Re: how do u put on spikes/marker if your set is full of gravel and sand?

« on: Sep 17, 2006, 03:42 am »

Look at an alternate way of doing it. Try marking the down stage edge every 2 meters, and the OP edge every 2 meters - creating a grid basically. It takes a bit of getting used to, but after a bit of practice, I have found it is a great way to get around a stage that cannot be spiked. If you have a good grid/flys, you can try tying glow string to the bars directly above where the set piece should be, or even use small LEDs and turn on the appropriate ones for set changes. I would not rely on marking the floor, as it is far too dynamic. The only way I can think of to make spikes remain in the same place would be to secure either the spiked surface to the floor, or use ribbon over the sand, both resulting in a trip hazard.

626

Students and Novice Stage Managers / Re: Need to convince my father that this is a good career.

« on: Sep 17, 2006, 03:33 am »

I know the overshadowing can work quite well.

I saw my best friend come out of the closet that way, as well as tell his parents he was going into fashion design... His father was one of the most homophobic people I knew, now he calls his son "his little fairy" in jest, and they are closer than they ever were before.  It worked for him.

However it can also backfire a bit (okay, a lot) - an aquaintence of mine told her parents she was getting married to a guy they did not approve of, and thought to overshadow it with the "and I am pregnant" thing... Irreparable split in their family now.

I guess if you choose this method you really have to be careful.

627

Stage Management: Plays & Musicals / Re: SMing the Musical Rehearsals

« on: Sep 15, 2006, 07:51 am »

When you say "musical (learning) rehearsal", do you mean a rehearsal where the actors are introduced to the music and begin working, or do you mean something else?

Just make sure you have everything that will be needed to hand and make sure things keep flowing.

628

Stage Management: Plays & Musicals / Re: Who's Job???

« on: Sep 14, 2006, 03:49 am »

Depends on how early on in the show we are. At the start, until about the end of the first month, we probably do an equal share of the ASM sort of stuff with working props etc, however the last month they are basically on their own (time based on what is for me, a standard 3 month rehearsal process). That said, I do like to be kept in the loop and do double check my ASM's work. Honestly though, I rarely have time in the later months to assist the ASM with the changes - as I find I spend half my breaks with one ear to the mobile phone making sure everything is running to schedule, the other listening to the director, and wishing I had an extra set of hands so I could write on two notepads at the same time.

629

SMNetwork Archives / Re: International Dictionary (Theatre Words)

« on: Sep 13, 2006, 04:50 pm »

I have added a poll to this thread to give it a bit more worth.

What I would suggest you do is in a fortnight or so, provided there are quite a few "Yes I would buy it"'s and "If I saw it I may buy it"'s is email the publishers and/or the author (probably easiest to email the publisher)

630

Stage Management: Plays & Musicals / Re: What do you want to tell Actors???

« on: Sep 13, 2006, 12:46 pm »

"When I say 0900 I mean we start at 0900. That means that you should be there at 0858 at the latest. If you want to chat with someone, or get comfortable, make yourself a cup of tea or some other task, you get there at 0845. If I wanted to start at 0905, then I would have written 0905 on the call sheet. And I don't care if you are the director, you agreed to 0900, so you should at least have the decency to turn up on time. And if you are going to be late due to traffic or some other disaster, I have a mobile phone, and you have my number."

As one can guess from the rather rant-ish "thing I would say" I am a bit annoyed at late people at the moment. My cast of 15 (plus director) were ALL late today. And not just 1 or 2 minutes late.... the first person to come in was 5 minutes late and had the audacity to say "Oh, great, I'm not late" - I had been there since 0530 (Which naturally puts me in a bad mood anyway - because NO ONE should be up at that time of the morning) and was exhausted already by the time they were meant to start - and I knew I would be there till late (I just got home and it is now 0230 the next morning) so grrrr... If I was going to say one thing to actors at the moment, it would be "BE ON TIME!"