616
Students and Novice Stage Managers / Re: Tech week signage
« on: Jul 23, 2011, 07:34 pm »
sign in sheet and tech thru run calendar?
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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617
The Hardline / Re: Dear Abbey...
« on: Jul 23, 2011, 05:57 pm »
Can you please clarify? Are you saying you are scheduled to work in that more than 15/20 but less than 29 hours range, or more than 29 hours? Because less than that, the actual pay is a grey area. Always smart to check w your local AEA rep because readings often have negotiated pay scales (you can see that in the agreement, there isn't anything specified until you get to over 15/20 hours).
618
Stage Management: Plays & Musicals / Re: REHEARSALS: Taking-Over During Rehearsals
« on: Jul 21, 2011, 08:03 pm »
in the 99-seat world here in LA, the SM is often brought in the week of tech, anywhere from the day of to the Tues prior (depending on the company's understanding of the SM's role). Basically do as much watching and listening as possible, take time before/after rehearsal to ask questions and take nothing personally since their dynamic has already been established. Take a deep breath, and find your good humor and calm patience and make those your foundation.
Take every chance to study the script, talk to all designers and team members, and be proactive where possible.
And good luck -
Take every chance to study the script, talk to all designers and team members, and be proactive where possible.
And good luck -
619
The Hardline / Re: Fight Captain Selection
« on: Jul 19, 2011, 05:38 pm »
Just weighing in with a "me too" - I am often the person w the most fight experience, and that combined w my dance background and paying attention at the fight choreography sessions, I am usually the logical choice and, of course, fight call is good for my time too.
Sounds like the best option - and FWIW I always defer to the fight choreog as to who the fight captain shd be. Safety first.
Sounds like the best option - and FWIW I always defer to the fight choreog as to who the fight captain shd be. Safety first.
620
Stage Management: Plays & Musicals / Re: RUNNING: Giving notes to difficult actors
« on: Jul 17, 2011, 10:58 pm »
Ah yes, given that this has been going on since rehearsal, so sorry, nothing you can do other than remind him when his shtick interferes with important information from other actors on stage or distracts in any other way from the plot points. And breathe. And look forward to the next show and the fact that he won't be hired again. It's too bad you can't teach him a lesson - but some folks just don't get that cuz the audience laughs doesn't make it right for or fit the show - gotta say, I've worked w some famous actors who don't get it either, and don't see how they're ruining the play for their personal attention hogging, perceived "moment of glory"
And - don't take it personally. Just keep moving forward, put one foot in front of the other and get to the other side as painlessly as you can.
And - don't take it personally. Just keep moving forward, put one foot in front of the other and get to the other side as painlessly as you can.
621
Stage Management: Plays & Musicals / Re: RUNNING: Giving notes to difficult actors
« on: Jul 17, 2011, 11:31 am »
Even though he is not an experienced actor, you need to be careful about show morale and backstage discipline. Certainly you can be strict with him - and it may work. But first of all, make sure you have a chat with your producer and director about the situation, and try to discover why this is happening. Often with senior actors, there are several areas of concern:
- are you sure the paraphrasing is intentional or is this actor struggling to remember lines/blocking? Especially with older actors, there is often much concern with career mortality and insecurity about being able to actually do the work. Often, deep insecurity and memory issues manifests as blocking/line shifts and is most likely the source of most of the issues you and he are both having. Also, he may not know better. Can you post/hand out the "rules for the actor" from any AEA rulebook?
- is this a "broomstick" actor - ie is he easily thrown by the smallest thing being different, even the live energy from the other performer changing on a nightly basis. (I had one famous senior actor who always came back the next night ready to do what his in-the-moment acting partner had done the night before - frustrating for all, but the senior actor couldn't understand because it was totally out of his vocabulary and resisted all attempts to help. Another time, a senior actor in a 2-hander so completely memorized the other actor's lines - a more senior actor who couldn't remember lines for crap - that he got lost every night)
- because you are young and he is not, you may need to deliberately establish your credibility. In addition, your verbal notes can let him know why the specificity of the written line is better; w blocking I always use the old "you aren't lit" for recalcitrant actors.
- because he isn't a seasoned actor, does he get bored easily - ie, looking for "different" to stay alive without realizing that isn't always "better". Perhaps he was set a bad example by others and simplly doesn't know.
- did he and the director disagree about the direction of the show and his scenes? Does he think the rest of the cast is no good, does he like the play in the first place? He may think he is acting in self-defense.
First of all bring the director to the table, if possible. He/she can let the actor know that you are trusted to maintain the show and that this is, indeed, your job. One thing that might help is to find private time outside of the show to sit down with him and ask what the issue is in a way that establishes your professional cred, maybe finds some answers to why this is happening and possibly solves the issue by coming to an understanding about expectations.
And, you may need to live with this and instead help the other performers in your cast roll with whatever happens. Charles Nelson Reilly papered his dressing room walls with the SM's maintenance notes on the original "How to Succeed" insisting that "it's only a little show." So, take a deep breath and remember, this too shall pass.
- are you sure the paraphrasing is intentional or is this actor struggling to remember lines/blocking? Especially with older actors, there is often much concern with career mortality and insecurity about being able to actually do the work. Often, deep insecurity and memory issues manifests as blocking/line shifts and is most likely the source of most of the issues you and he are both having. Also, he may not know better. Can you post/hand out the "rules for the actor" from any AEA rulebook?
- is this a "broomstick" actor - ie is he easily thrown by the smallest thing being different, even the live energy from the other performer changing on a nightly basis. (I had one famous senior actor who always came back the next night ready to do what his in-the-moment acting partner had done the night before - frustrating for all, but the senior actor couldn't understand because it was totally out of his vocabulary and resisted all attempts to help. Another time, a senior actor in a 2-hander so completely memorized the other actor's lines - a more senior actor who couldn't remember lines for crap - that he got lost every night)
- because you are young and he is not, you may need to deliberately establish your credibility. In addition, your verbal notes can let him know why the specificity of the written line is better; w blocking I always use the old "you aren't lit" for recalcitrant actors.
- because he isn't a seasoned actor, does he get bored easily - ie, looking for "different" to stay alive without realizing that isn't always "better". Perhaps he was set a bad example by others and simplly doesn't know.
- did he and the director disagree about the direction of the show and his scenes? Does he think the rest of the cast is no good, does he like the play in the first place? He may think he is acting in self-defense.
First of all bring the director to the table, if possible. He/she can let the actor know that you are trusted to maintain the show and that this is, indeed, your job. One thing that might help is to find private time outside of the show to sit down with him and ask what the issue is in a way that establishes your professional cred, maybe finds some answers to why this is happening and possibly solves the issue by coming to an understanding about expectations.
And, you may need to live with this and instead help the other performers in your cast roll with whatever happens. Charles Nelson Reilly papered his dressing room walls with the SM's maintenance notes on the original "How to Succeed" insisting that "it's only a little show." So, take a deep breath and remember, this too shall pass.
622
Stage Management: Other / Re: Prepping for a show with No Ground Plan
« on: Jul 14, 2011, 12:50 am »
This is a quick overview, based on the environmental stuff I've done - in some very, very odd venues - and sometimes it really is playing it by ear.
One of the most important things you will want to have set up before your tech is the audience seating/standing area - where will they be and how much room do your actors have. Look for and establish escape areas, aisles, hideaways, back routes etc - and also think abt how you and the actors will hear/see cues (check acoustics and sightlines from a variety of spots and see if you can find a few options). Where can they change. What can you lock off from the audience, what needs guarding so your performers have places to breathe, change and/or wait off stage. Is there natural masking or do you need to score curtains, tablecloths or some other creative device. What abt quick change areas, valuable storage, a central place for the callboard/sign in sheet, water, bathroom access.
Keep your good humor, a smile, a spirit of adventure, lots of patience and all your creativity at the fore, take a deep breath, and make it work!
One of the most important things you will want to have set up before your tech is the audience seating/standing area - where will they be and how much room do your actors have. Look for and establish escape areas, aisles, hideaways, back routes etc - and also think abt how you and the actors will hear/see cues (check acoustics and sightlines from a variety of spots and see if you can find a few options). Where can they change. What can you lock off from the audience, what needs guarding so your performers have places to breathe, change and/or wait off stage. Is there natural masking or do you need to score curtains, tablecloths or some other creative device. What abt quick change areas, valuable storage, a central place for the callboard/sign in sheet, water, bathroom access.
Keep your good humor, a smile, a spirit of adventure, lots of patience and all your creativity at the fore, take a deep breath, and make it work!
623
The Green Room / Re: Missing AEA Actor
« on: Jul 13, 2011, 03:11 am »
I posted with some internet friends in CO and they linked the post to a couple of more global Denver sites, so hopefully someone has seen something and he will turn up (and hopefully safe and sound)
624
Stage Management: Plays & Musicals / Re: Re: ESCRIPTS: Post your requests for electronic scripts here!
« on: Jul 10, 2011, 08:50 pm »
one last shout-out for Robber Bridegroom - please pm me if you have it and thanks
625
The Hardline / Re: Union Membership not required under AEA Contract?
« on: Jul 10, 2011, 08:49 pm »
this is hearsay, but if memory serves, I was told someone can draw health but not pension (and time was when health was also a "donation"). but, well, I cd very well be wrong -
626
The Hardline / Re: Union Membership not required under AEA Contract?
« on: Jul 09, 2011, 02:32 am »
To reinforce Matthew's comments - there are, of course, exceptions to the rule, and there are some terrific and experienced non-union SMs out there in smaller communities, but in general experience tells. I have trained/worked with many recent grads in their early careers, and there is a huge difference between what is taught in college and what happens in the real world, even w the best of schools. Especially when you go from a fancy modern bells-and-whistles campus to an older venue, or one of many small professional or mixed pro/nonpro theaters, working mid- to small-range contracts where there is much more grey, and working with people of all ages and backgrounds. How do you bend and negotiate and deal, where can you find grey areas and what is black and white. That takes time and practice, and observation of others as well.
627
Self-Promotion / Re: Next stop: dream job!
« on: Jul 08, 2011, 12:58 am »
very cool, nice photo (and, a tie??? wow!)
628
The Green Room / Re: Trivia Tournament III - 2.0.11
« on: Jul 06, 2011, 01:28 pm »Quote
1. ruthny (331 points, 13 wins)
Holy crap! that's a little overwhelming - and congrats Ruth! (guess all that geocaching and trivia work comes in handy in all kinds of places...)
629
Employment / Re: Necessary in a resume?
« on: Jul 05, 2011, 03:33 pm »
One more odd note:
Interestingly, for both these folks, their resumes are 3-4 pages long. Some of it is detailed job description (the kind any novice headhunter would see through easily) but mostly, it's filler. Again - 1 page, maybe a second for "other skills" but 3-4? or more? Yikes.
Interestingly, for both these folks, their resumes are 3-4 pages long. Some of it is detailed job description (the kind any novice headhunter would see through easily) but mostly, it's filler. Again - 1 page, maybe a second for "other skills" but 3-4? or more? Yikes.
630
The Green Room / Re: Convolution Creep
« on: Jul 05, 2011, 03:30 pm »
Actually, this is a commonly known issue w clearcom. Any phones backstage must be totally off, or in a specific phone-challenged area downstairs in one house, off entirely no matter what in another. The alternative is easy - I can't hear the cast over the monitors, the crew can't hear me calling GO. So cues can't happen.