Messages

676

Uploaded Forms / Re: Line Notes (for going "off book")

« on: Jul 07, 2006, 12:23 am »

Well this is the report I use - It is not just a line notes form, but it is the main purpose of it.

Attatched in both PDF and Excel format.

677

Tools of the Trade / Re: Favorite Deck Flashlight?

« on: Jul 06, 2006, 11:53 pm »

Personally, I hate the colour of "White LED's" - even after I gel them, they give me an awful headache.

I love my maglite (MiniMag, 2xAA) for most tasks backstage. It is not the brightest thing arround, however if you use a decent quality battery (not cheap junk) it can easily illuminate a point upwards of 8 meters away in pitch black.

If I want to look up into the grid, I use my 10,000 candle power mother of a torch (one of those rechargeable heavy things used for 'spotlighting' when hunting. Apparently the thing can be seen from 2 miles away (although I am doubtful)) - It illuminates the grid nicely, however it is certainly not small.

I have a 'shake and shine' type torch which is also damn handy (it has 5 UBLED's and about thirty seconds of vigorous shaking gives power for close to 15 minutes) which is good in a tight spot.

678

Stage Management: Plays & Musicals / Re: Board ops doing other things during a show?

« on: Jul 05, 2006, 02:11 am »

I think Jennifer hit the proverbial nail on the head.

You are the stage manager, and it is on your behind if a cue is late.

And to tell the truth, that is the crux of the issue to me - it is my reputation on the line just as much as the operators is. I don't feel confident if I do not know my operators are on the ball. And living in prompt corner, I cannot tell if my ops even have their cans on and heard me if I don't recieve a standby - after all if I am lucky enough to have a camera feed or 2, they are usually focused on the stage and not on the operators.

679

Students and Novice Stage Managers / Re: The Ultimate Decision

« on: Jul 01, 2006, 10:34 pm »

I have always loved theatre, however I never really considered it a career. I have always attended small schools - I spent the first 6 years in a school of 120 students, then I moved to a larger primary school for 1 year which had 300 students. It was there I got my first acting experiance. Then I moved on to high school, where I spent the next 6 years. We had 500 students, and our drama department was 1 teacher and about 20 students and the classes were soley acting. There was no theatre anywhere near by, except for a local town hall which had a stage, and our performing arts center was, for lack of a better word, crap. It was poorly designed, and had equiptment that was largely outdated. They put on 3 performances a year (1 for the year 9 drama, one for year 10 drama and one for year 11 drama) and they were all performances from the drama text book. A year later, I had the lucky opportunity to go on a back stage tour of Mary Poppins, and I loved what I saw.

So I started researching theatre technology (because that is what intrigued me). I got invited to sit in on that same show with the lighting operator, and it was there I learnt what a stage manager did. That lit the fire that caused me to crusade for the improvement of our performing arts at school. I spent as much time learning as I could, and it became a hoby. I became involved in the local lyric theatre, first as a back stage hand, then as sound and lighting designer and operator, then finaly I stage manged my first show. A year after my first foray into stage managing, I started working on fringe shows in the city (an hour and half bus ride each way) as well as working with my drama teacher to create a show which we toured later that year. That was 5 or 6 years ago. And up until two years ago, whilst I did paid work over that time, I had always considered it as a 'bit on the side' (as I have normally worked on the fringe, which usually meant not full time). Then 2 years ago, I just said "Damn it all, I am not going to be stuck in a cubicle for the rest of my life" and that was that. 

680

College and Graduate Studies / Re: Summer Festivals/Unpaid work

« on: Jul 01, 2006, 07:17 pm »

If you want to get into directing, look into any local youth theatre companies around your area. I know in Australia that  2 local(ish) companies are looking for a full time Artistic Director, one of which directs 4 out of the 9 shows they put on each year, the other directs all 6 shows they put on each year.

681

Employment / Re: What to wear/bring to a SM interview or other tips

« on: Jun 30, 2006, 09:43 pm »

Congrats on getting the job! And what a great way to get into it!

The route I have taken with my family was just to say "would you rather I be happy with my job yet making a few sacrifices, or depressed and earning a decent wage". Most parents just want their children to be happy, and often they equate that with a good wage. Just sit down and tell them that this is what you want to do with your life and you realise it may be tough to start with, but it gets better. Generally, I think they will understand - that said, my parents still keep perstering me to move into teaching (Personally I cant see me teaching kids... yuck)

682

Stage Management: Plays & Musicals / Re: Left or Right

« on: Jun 30, 2006, 09:11 am »

I have script down the right hand of the right page. Running notes and cues written down the left side of the right page. Blocking and notes on the left page.

My main justification is that my eyes naturally find the left hand side of the right hand page. I read from left to right. So what happens is as I call a show, I turn the page, and my eyes naturally snap to the right page, top left corner. I scan down the left hand side of the page. I see a cue, I follow the line (naturally, from left to right) to the point where the cue is called, then I return back to the left hand side. That and I have never actually tried to do it any other way (I have done many a mock up bible in different styles, but I have never   used any other style "in anger")

683

Stage Management: Plays & Musicals / Re: Friend or "so nice to meet you"?

« on: Jun 30, 2006, 06:23 am »

I am not AEA, and I am not really a 'touchy-feely guy' until I know someone well, however I find there is nothing wrong with getting to know a cast and crew really well. It is one of the real joys of the job. It is always a sad time when the tour ends, but you get over it.

My second decent length tour I decided not to get too close to the cast and crew because I had a really hard time going back to living alone and often going for more than a week without hearing from another peron. So I made excuses while the cast and crew was going out for coffee, and I spent a lot of time doing paperwork quitely in one corner. The long and the short of it though, is I was miserable the majority of the time.

I generally don't keep in touch with performers and crew unless I work with them often. Occasionally there are one or two members of the cast that I get along with well, and we become good friends, but more often than not, at the end of the show, we have the after party and part ways.

It is all personal preference though. I mean you could keep in contact with everyone you have ever worked with if you wanted to, however the logistics of managing that sort of thing is logistically impossible. So my advice would be to keep in contact with the good friends, however at the end of the show, just let the rest go.

684

SMNetwork Archives / Re: Wireless Headsets

« on: Jun 30, 2006, 05:08 am »

Decent wireless cans are not cheap. What you are after is these.

You see, most 'radios' people use are half-duplex. That means that you either talk, or you listen. You cannot do both. This sort of technology is not overly expensive. However, what we need as SMs is called full-duplex, which I am sure you can guess, is two way. You can talk and listen and it costs more than twice the price. There is a very simple reason why full-duplex is considered a 'necessity' in most theatres, and that is safety. Being a student at a school that may not matter too much to you as chances are you will have a teacher on hand to deal with those sorts of things.  If you are really worried about needing to move great distances, get yourself a REALLY long mic lead - clearcom/telex/techpro compatible cans systems all use your standard 3 pin XLR cables. You can buy 20M for about (AU)$25 or so.

a 20m cable will give you more than enough freedom. The rest is learning cable management. For example, don't walk one way past a table then come back the other side. Get used to trailing a hand behind you to pull the cord along or you can do what  I do, which is to use LX tape to tape a ring about 40cm down the mic cable, then use a small carabina through that ring and my back belt loop to put the strain on my pants instead of on the belt pack and connection (the cable lasts longer).

You will learn little tricks the more stage management you do to make your life a bit easier.

However in response to your orrigional question. Yes, you can buy a single wireless can station that will interface with your telex system. However I doubt you could afford it.

685

SMNetwork Archives / Re: Software that needs to exist!

« on: Jun 27, 2006, 08:35 am »

Biff - you linked to theatertools - I was in the beta program for the testing of the program. I must say that I was quite underwhelmed at the quality of the product. It was built on top of access - and whilst that is one of the reasons I dislike it, the applications interface just was not intuitive.

The application I was writting, which was entirely web based etc got to a point where I could do 99% of the paperwork using it, however my interest in the project, combined with time constraints, lead me to cease development. I considered reviving it a few months ago, however after much consideration I vetoed the idea, deciding that a web based application really was not suitable. And since I lean towards web based or command line programming, I do not have the experiance of the skills required to create a GUI type application.

Whilst I was beta testing theatertools' product, I did do quite a lot of thinking about what an SM application I would use would look like and how it would perform, what information is needed, yadda yadda yadda. My project notebook has about 30 odd loose leaf pages of my writing and mock database design, I pulled out various copies of prompt books I have made and I called in a few favours and looked at other peoples books. The final result of my investigation? Unless you can create a piece of software that is infinately customisable, you will never have an SM tool that will be usefull for all SM's. We all work differently, and that is the problem. We all want to store different information and we all want to work in a different way. And should you create this extrodinarily versatile program - the set up time and complexity of use would dissuade a number of users. And there really are not enough stage managers who are financially solvent enough (and who are willing to part with the $) to make such a project (worked on by professional interface designers, work flow experts and programmers) feasable.

However - I do not want to dissuade people from trying - however looking at it from a commercial standpoint - I cannot see this sort of 'sm bible on CD' existing any time in the near future. That said, there are a number of small programs that would be great. An application that allows digital calling scripts to be made quickly and effectively using a standard notation, for both print and digital display. A stopwatch/lap timer application is another useful sort of program - I have a basic one on my PC, but would love a more advanced one. I think if instead of us looking for the magical all in one application, tools like this are a better way to go for the time being.

686

Stage Management: Plays & Musicals / Re: Working with nudity

« on: Jun 27, 2006, 03:07 am »

See if you are able to get a body suit for the actor. The OH&S side of me instantly thinks of all the dangers in the theatre, like hot lanterns on booms in the wings. It also allows  a little bit more modesty for the actor, and speeking as a male - the bit of restraint for the dangly parts of the anatomy is always a good thing.

Whilst I would not have the actor rehearsing in the nude, I would advise that the actor practices a few times at home whilst in their birthday suit. I would encourage that the show be teched and plotted with the actor in the buff, it will allow any issues that may arrise to be solved earlier and get the cast and crew used to a naked man walking arround the stage (and more importantly, make sure the actor is a bit more comfortable).

I know I said it above, but look into getting a body suit, or some flesh toned stockings for the actor.

687

Stage Management: Plays & Musicals / Re: Lights? Electrics? Elex? What do you say?

« on: Jun 26, 2006, 12:36 pm »

whilst your technique, SMJohn, is effective, a large part of the calling technique is that it should be concise and to the point. In schools, it usually does not matter - things tend to be a lot less formal, but as you move on in the SM world, you will find yourself running on bare bones crew, you will have to deal with more cues and more departments. It is also my opinion that your tone whilst calling a show, and your professionalism whilst calling is essential. Just something you may want to think about if you plan on becoming an SM after school. That said, you are at school, have fun and enjoy it.

688

Employment / Re: Websites

« on: Jun 25, 2006, 11:48 am »

Out of interest, do those with websites for their resume find they get work from it?

I have never really considered doing it - I loose interests in pet projects extreamly quickly (ie 3 months or so and I start loosing interest quickly) and know that should I start one, unless I knew it was getting used, it would fall by the way side. For example, the website listed in my profile is a wordpress blog which is (extreamly) poorly maintained. I think I made 4 or so entries, and the only reason it exists is was I wanted to experiment with the software. However if people here found they gathered work, I would certainly be interested in putting one up some time in the not too distant future.

689

Stage Management: Plays & Musicals / Re: Outdoor Theatre Advice / Much Ado About Nothing- In the Park

« on: Jun 25, 2006, 11:41 am »

Tigerrr raised an excellent point about the grass and things on it. I would advise that you walk the entire space before each rehearsal and performance to ensure the ground is clear of anything dangerous. The last thing you want is a needle stick injury, or an actor to twist their ankle in a hole in the ground. I would also perform what we in Australia call an "emu parade" every so often - basically you line the entire company up within the space and you slowly pace up the space cleaning the ground as you go. It is slightly degrading and you may have to sooth a few egos but generally if an actor is willing to work outside they are willing to perform these slightly icky tasks.

A point that I feel need constant re-itteration - Plan for weather problems. That means you need to make sure any departments using electricity comply with regulations regarding outdoor temporary installs where water is a high risk. It means you should have a procedure to quickly secure everything, evacuate the stage and cover if necessary. And you should practice each of these. If you have the time, dedicate a day during tech to get everyone onto the right page.

There is a saying, "never work with animals or children" - I think the saying should be extended "never work  outdoors or with animals or children", because like animals and children, outdoor environments are infinately more unpredictable. And like animals and children, they can be great fun to work with :-)

690

Stage Management: Plays & Musicals / Re: Lights? Electrics? Elex? What do you say?

« on: Jun 21, 2006, 07:32 pm »

Strange that you find Lights easier to say. It could be something to do with accent etc. but I find enounciation of Lights so that it is clear to the ops takes more time and effort than LX (pronounced Elex). If someone had a research paper they had to do for college, it could be a really interesting thing to look into (topic "What enviromental factors assist in the evolution of theatrical vocabulary?") Something that I don't have the time to do, but really fascinates me.