Messages

631

Stage Management: Other / Re: Special Skill: Basic Rigging and Automation

« on: Jan 01, 2013, 11:34 am »

I have worked in top tier regional theaters where I started seeing both mechanism scenery and automation - sometimes over the top levels of automation (one show had 14 points of automation).  I think at the end of the day, if it serves the show, then it's a good idea.  It's a pain in the butt to tech, problem solve and program - and when it works, it's can be great.

A lot of automation is dictated by the design of the show, but sometimes I have hit pinch points in the show where I can't do a scene change as designed or envisioned, and the answer is either add more crew or automate . . . and often it comes down to cost - to automated doors can be cheaper then crew over a long haul.

My question is on SM resume, I am not sure what rigging and automation means.  Does this mean you do rigging?  Rigging is such a highly specialized skill set.  Also, automation - I would be confused as well - does that mean pushed a button?  Does that mean you program?  Does that mean you built the system?  I am just not sure what that means on SM resume.

632

Stage Management: Plays & Musicals / Re: Stair unit transitions

« on: Dec 29, 2012, 12:25 am »

We did this in Measure for Measure in the park - two rolling stair cases.

At the end of the day, the cast needed to learn the spikes . . . we did some fairly simple spikes (colored, multiple colors, patterns).   And since they had to do it to music, and match moving scenery - it was a dance step.  If you can get them into rehearsal soon (even mock ups) - it will save you tons of time.  And, we had stair rehearsal - 30 minutes of working transitions in Act 1.

We found, eventually, the director simplified the looks - he grew tired of watched the stairs move EVERY time, and we found it actually easier on the eyes to return to the same position more then once.  (Although there was a version of new step locations for every scene.

In rehearsal, we attached a cheat sheet to the stair case (Move downstage, apex at 12:00n (our stair case had a return, so we marked one corner as apex . . . and allowed them to remember - oh, we have to shift it 30 degrees as we move it to the next spike.)

633

Self-Promotion / Dallas Theater Center: King Lear Jan 18 - February 17, 2013

« on: Dec 26, 2012, 09:45 pm »

King Lear 2.0 in Dallas.

Will have lots of free time to meet up with old friends in Dallas, new friends in Dallas, etc, etc.

634

Introductions / Re: Guten Tag from South Florida

« on: Dec 25, 2012, 02:22 pm »

Welcome, welcome, welcome!!!

635

Employment / Re: Pictures

« on: Dec 24, 2012, 06:51 pm »

Yes, jcarey, and I am EXTREMELY SENSITIVE ABOUT IT.

636

Employment / Re: Pictures

« on: Dec 23, 2012, 10:44 pm »

LCSM -

I look exactly like my current icon . . .

637

The Green Room / Re: What about my dog?

« on: Dec 23, 2012, 12:43 am »

Interesting, my most recent contract panic/scare was due to my two dogs.  My husband is physically unable to care for the dogs (two small min-pins, but he has a serious medical condition).  So, this second part of a two gig contract has become complicated by the fact I need to bring both dogs.

So, dog friendly housing.

Plus transporting the dogs, but since my departure date is end of December, there is no really safe way to confirm that it will be above 45 degrees for the dogs to fly below (And they are just a wee bit too big to fly int he cabin.)

This means a way way car rental there, and one way back.  Gas. Housing along the way.

The contract became a very sticky thing to discuss - and oddly emotional. 

Luckily, once we got all the options out there . . . since they were going to rent me a car for my time out of town anyway, we just added three days to each side of the contract, and rented the car where I lived.  We took the money that would have been spent on the transportation to the airport, the airline ticket and shipping (this is an AEA contract) - and gave me a 700.00 travel allowance.  (I think I can do it for six hundred, but we shall see.) 

It ended up working with in the theatre's budget and worked for me.

I will end up paying the pet deposit at my apartment, but that seems fair.

Sometimes theaters don't want to negotiate this because, once they do it for one person, they feel like they have to do it for everyone - even if there is no cost difference.

But ask, talk, be passionate about your situation.  (Some company managers are huge dog/cat people.)

638

December Madness I: 2012 / Re: Regional, Round 7: Photocopier vs Headset

« on: Dec 22, 2012, 11:43 pm »

sad, how far the mighty photo copier has fallen . . .

it has been stabbed in the back . . .

probably with a multi-tool.

all those are really good for anyway.

pain and hurt.

639

Tools of the Trade / Re: [FAQ] Electronic Prompt Copies

« on: Dec 22, 2012, 11:42 pm »

One thing I like to do is create a seperate document with one of everything I use for the calling script

a stand by
a cue
a warning
a headset check (Like, confirm set is on palette)
etc

and that was I just copy and place in the script.

640

Tools of the Trade / Re: [FAQ] Electronic Prompt Copies

« on: Dec 21, 2012, 10:46 pm »

When I was on MAC . . . I did have to keep an older version of word to do the type of formatting I like.

Now, on PC - I find that I am, on the current version of world, able to do the formatting I like.

641

College and Graduate Studies / Re: New York University: Tisch - Does it offer a stage management program?

« on: Dec 21, 2012, 08:43 pm »

Look into NYU - I know one or two of their production managers.

I go back and forth and the concept of going to school in NYC proper - there is going to be some much "career noise" that will pull you away from the school work (Which is more exciting, PSMing a small show at school or PA'ing a Broadway show . . . that tends to happen in NYC).

If you are planning on making NYC your home base, then try to go to school as close to NYC as possible - why not learn the city and make local connections when you are living as cheaply as you will ever live.  One of the difficulties about studying theater in a school that is geographically isolated from a major theater hub is you are missing out of years of making connections - things that visiting professors and field trips to major cities are never QUITE going to make up for it.  Trust me, you are going to have the leg up, the connections and the lead that are going to put you ahead in the market come graduation - even perhaps coming from a "better" program (which I think is always a HIGHLY SUBJECTIVE - what school is good for me is not going to be good for another SM).

Good luck on your search.

642

Students and Novice Stage Managers / Re: Shadowing: General Q&A

« on: Dec 21, 2012, 12:35 pm »

The best way is to reach out to the SMs directly.

But, do know, the holidays are insane, and you might want to wait until after the first of the year.

643

December Madness I: 2012 / Re: Regional Round 6: Headset vs Cell Phone

« on: Dec 20, 2012, 11:21 am »

I do hope everyone can remember, that this is all in good fun - there is no right and wrong (except when the multi-tool is brought up, but I digress).

These conversations aren't about right opinions, correct answers, or anything like - it's a personal preference.

It's EXACTLY LIKE ROOTING FOR ALABAMA OR AUBURN.

It's fun to get emotional, but it's not personal . . . you aren't the cell phone nor the headset.

I hope we can continue to have emotional, passionate conversations about trivial matters, and realize at the end of the day - like how it's never just one person - it's about the assortment (the multi as one would say) of tools we have at our disposal.

644

The Green Room / Re: Dealing with Divas

« on: Dec 20, 2012, 11:09 am »

In the heat of the moment, I try to avoid the label of "Diva fit", and trying to figure out where this is all coming from.  (It also depends on where this fit is taking place).

If it is in a big, formal location, a quick ten, and asking to speaking to the one who has some grievance to air in private my give the dramatic reaction the "Diva fit".  I always try to repeat back to what I think the problem is.  And give my thoughts about the cause of the problem, or possibly give some insight into the situation they may not be aware.  And then I ask them what their ideal resolution would be, and then we banter around some plan b and plan c's.  I have to say, that sometimes when I ask them what their ideal solution would be, they often say, "I don't really think there is anything anyone can do - I just need to get some stuff of my chest."  BRILLIANT. I am off the hook - but, sometimes there are legit issues that have been building up.

I try to avoid big issues, by solving little problems, and checking in with those that I think have a larger stake in the production often.

It doesn't matter if it is a performer, designer or crew member, everyone has a right to be upset at work.

Now, if it is was one team, a stage manager, I would have a bit more of a fit, since I do foster an open, communicative work environment, and if they chose to have a big, public, meltdown, instead of talking to me ahead of time - we would have words about it - after the event.

645

Students and Novice Stage Managers / Re: The Executive Decision

« on: Dec 19, 2012, 06:17 pm »

This is hard, a really hard question to answer

I don't know what you think is an executive decision.

I do think it's tremendously important for a SM to be able work without constant supervision, and make small decisions within the framework a producer gives you.  But, I am unsure what you mean as a executive decision?

Can I make the decision to cancel a show - no, I can't - but I know who to go to find the answer to that question?

Do I need permission to move rehearsal back 30 minutes to allow for more costume fittings - probably not, but I know I should check with the Production Manager and Director to make sure they are cool with it?

You can go on and on, down the line - you need to know within what parameters you are allowed to work.  What decisions you are comfortable making on your own (And then backing up).  This is where the experience in this job makes this job SOOOO much easier - there is a confidence that helps you handling this situations.