Messages

706

Students and Novice Stage Managers / Resume Formatting -What stands out?

« on: Jun 10, 2006, 08:59 am »

Since so many employers ask for submissions via email, it's important that you choose a font that is common to most computers (PC and Mac) such as Times New Roman or Arial.

Whilst the font advice is good advice - I would have to go one further. If you are electronically submitting a resume, it should be in PDF format.  In those cases, fonts do not matter. Neither do software versions etc. 99% of computers can read PDF files, and the other 1% are your people who still have their P133's (and by extension, are unlikely to ask for email submission).

707

Students and Novice Stage Managers / Resume Formatting -What stands out?

« on: Jun 09, 2006, 08:13 pm »

Add a me too for simple, easy to read resumes. I would say 1 basic font, a maximum of 2 font sizes, bold, underline and tabs/tables should be the only formatting in place.

I agree with Matt on the 2 pages is acceptable stance, however don't just fill it with "this show for so and so" "that show for whosy whatsit" - a page of that will not be read, just ignored.

Your resume has to reflect the person you are - in stage management, we are organisers, the center point of communication and we are expected to be professional. So keep those sorts of things in mind when you create it. If you were applying for a job to be a clown, maybe your resume would have clip art, scented paper cut out into a weird shape with lots of colour. Your resume is your first impression on them. Make it stick.

708

Students and Novice Stage Managers / how much time?

« on: Jun 03, 2006, 10:07 pm »

It is a matter of prioritising. I often spend a week getting everything set up for a show (if I am notified about it a week earlier) however sometimes you only have a few hours available to do it.

Usually I do things in this order (and if I run out of time, it does not matter)

1. Work out rough production schedule (including "No Change" dates and submission dates etc)
2. Work out agendas for first production meeting and rehearsal
3. Create "Welcome to the show" packets (contains contact lists, health forms, HR forms, details about the show, details about the venue, history of the show and the period it is set in if needed yadda yadda yadda)
4. Make sure I have all my kit ready for day 1 (including lots and lots of pencils)
5. Create script extractions
6. Create rehearsal paperwork
7. Create prompt book
8. Create performance paperwork

The list is by no means complete, but gives an idea of the areas I work on. Some things like production schedule will only be rough, especially if you have not talked to the director, but I usually like to pencil in a no change date about 5 or so days before we move into tech, and I like to pencil in a "set design required" and "equipment requirements due" dates - usually the equipment lists about 2 weeks before tech week if possible, and set design about a month prior. After the first production meeting though, these things can change drastically. The outline of a production schedule should take no more than 20 minutes really.

The agenda for first meetings is usually fairly basic too - production meetings - welcomes, directors vision, each departments vision, budget, timeline etc. First rehearsal - welcome, your time, directors time, charactor discussion, design discussion, readthrough etc. Maybe an hour to put together.

"Welcome to the show" packets can go from the time it takes to photocopy a few documents for the entire cast, to upwards of 5 or so hours. One thing good about stage managing is you can reuse old documents.

Checking your kit should not take long if you already have one - if you want to put one together from stuff arround the house, maybe an hour or so.

Script extractions require you to have read the script once already (say 2 hours), then probably another 3-4 hours to do the extraction, so 6 hours.

Rehearsal paperwork - sign in sheets, call sheets, line note sheets, rehearsal reports etc - if you are making from scratch, 4 or 5 hours, if you are recycling, 10-20 minutes.

Prompt book - anywhere from an hour to 20.

Performance paperwork - sign in sheets, call sheets, performance reports, much like rehearsal paperwork.

It also takes a day or two to set up the rehearsal spaces and callboard.

709

Students and Novice Stage Managers / How to ASM

« on: Jun 03, 2006, 01:21 pm »

Just to add my 2c - ASM is a LOT different to SM. You (as an ASM) really need to keep flexible - I know I have asked strange things from ASM's in the past which are often quite outside the box - be prepared for that sort of thing.

The best ASMs I have worked with have very quickly learnt how to anticipate what I will need and have it done by the time I get arround to asking. For example, during tech, when I stop, a good asm would be on the ball, already resetting. (background: In australia, ASM is usually responsible for organising running props) Or they would notice that we were working on a new scene next week that requires x and y, and have them to me before I need to ask.

710

The Green Room / Food

« on: Jun 03, 2006, 09:43 am »

I am living on food I can eat with chopsticks now - that means rice, currys and stirfrys.

711

Students and Novice Stage Managers / Plots

« on: Jun 02, 2006, 06:56 pm »

I do 'script extractions' (fancy name for a plot with all departments), which get handed out @ production meeting #1 as a "these are the things I found when reading through the script, you may wish to base your designs on this."

712

Students and Novice Stage Managers / script analysis

« on: Jun 02, 2006, 01:13 am »

As BalletPSM said, it is largely a directorial/actor thing - however as SM, it is our responsibility to understand the process.

I indicate beats etc on my script etc and breaks in the script - more to assist with calling. I usually use the music subdivision techniques I was taught when writing and counting beats (1 e & a 2). When I am writing a pause for X beats with nothing needs to be called I just write p(X).

All comes down the personal style I guess. Whatever works for you.

713

Students and Novice Stage Managers / computerized paperwork

« on: Jun 01, 2006, 02:31 am »

Okay, I will bite (this applys mainly to spread sheet applications in general, as opposed to "Excel")

1. Keeps fields lined up
2. Easy to use
3. Formatting is quick and easy
4. Formulas for calculating date/times etc
5. Ability to add rows and columns into the form without messing up the formatting
6. Recognised file format
7. Work book feature allows you to copy a 'template' sheet to create a new record within the work book (ie rehearsal reports can be kept in the one file)
8. Ability to use Macro's
9. Well supported application
10. Almost everyone has it.

714

The Hardline / Lateness Letter/Written Warning

« on: May 27, 2006, 07:51 pm »

Written warnings should go to the production manager and 'human resources' if you have a HR department. I would make sure I inlcuded the following information:

• Date of Offense
• Time of Call
• Location of Call
• Time of Arrival
• Date that call time was made known (and how)
• Reason Given/were you notified

Usually in the body of the text I would make note of any penalties or punishments that may occur due to future tardiness.

Something like"

Code: [Select]


To {CAST MEMBER}

When you signed on to the production of {SHOW}, you signed a contract indicating that you would be punctual with regards to call times. We noted however that you arrived late to the {REHEARSAL/PERFORMANCE} on the {DATE} at {LOCATION}.

The time of call was made known on the {DATE}, via {METHOD}, and it was clearly indicated that your call time was {TIME}. You arrived however at {TIME}. This is both a contract violation and a major inconvienience to the company. When confronted with your tardiness, you explained by saying {REASON} - whilst we appreciate that cast members do have a life outside of the theatre, we also believe that you have a responsibility to the company to be on time and notify us ahead of time if the reason of delay is unavoidable.

Whilst at this point in time, no action will be taken, this letter is to advise you that in future the following penalties will apply.

....

Please ensure that you are punctual in your attendance at future rehearsals, or call the Stage Manager ({YOUR NAME}) on {PHONE NUMBER} if problems arrise.

Regards

{STAGE MANAGER}
Stage Manager
{COMPANY}

715

The Hardline / Another "Under What Circumstances Would You...?"

« on: May 26, 2006, 01:13 pm »

Okay, trying not to go too far off topic - however... I do not screen calls - I know far too many people who just hang up when they hear an answering machine.

I do feel that you have to draw the line somewhere. I do a lot of work out of hours making sure things run smoothly - just like most Stage Managers, and I do not bill for that time.

However I don't work union - which means I have a lot of flexibility in my contracts (which is good and bad). I am fairly up front about what I expect renumeration wise when it comes to my day off - minimum 2 hour call. Over 4 hours is full day. Paid at time and a half. No non-essential tasks. Basically meaning that if they call me because they need me to do a half hours work, then they try and fill the remaining 1 1/2 hours they are paying me for with non-urgent tasks, I will not do them. It's main purpose is to give them pause before they call me. I also ask that all non-essential communication on my day off be through email.

Provided you lay out your boundaries early, and you stick to your guns, you will generally find people respect you enough that it becomes a non-issue (anything that is likely to pop up they warn you about earlier, or they learn to wait a bit).

716

Students and Novice Stage Managers / computerized paperwork

« on: May 24, 2006, 09:08 pm »

I suppose it depends on what you want to do with it. I know some people who use Access or another database program like it so that all the forms are filed in a database. Most use MS Word and Excel (or OpenOffice.Org Writer and Calc).

717

Stage Management: Plays & Musicals / Hispanic Theatre and Stage Managers

« on: May 23, 2006, 08:21 pm »

We do have one bilingual (Spanish/English) opera, and there is a little concern that I'm not bilingual...that had been the only show previously to have a stage manager (I'm in a newly created position), and they wonder how crucial me not being bilingual will be to that show.

Provided you can learn the sounds and blocking involved in the cues, you should be fine. I did a show written entirely in a made up language (if you ever get the chance to do a show like that, try it) - whilst I spent half the time trying not to roll arround on the ground laughing during rehearsals as the writer kept on lecturing them on the correct inflections on the words, I began to listen to the major sounds in phrases and words that I needed to cue. You may not notice, but our tone of voice and volume changes based on what we are saying, what precedes the words etc - these sorts of things are just as important as the words, so you can use those sorts of alternate things to cue from.

718

Stage Management: Plays & Musicals / Stop The Show!

« on: May 22, 2006, 11:55 pm »

I think every stage manager will eventually have to stop a show.

There are a few different reasons I have had to stop shows, however the most notable was a drunk man who snuck a bottle of gin into the theatre and upon finishing it, threw it at the stage. I have no idea how he got in, but we did press charges and thankfully no one was injured.

719

Stage Management: Plays & Musicals / Outdoor Theatre - Basic Information

« on: May 22, 2006, 02:15 am »

Well it depends on the space - an ourdoor ampetheatre is a lot different to some portable staging in a park, which is different to a theatre show set up in the middle of the street.


If it is an outdoor ampetheatre or a stage in a field/park, a few main things to consider (which somewhat apply to the third scenario too):

Chances are sound re-inforcement will become a much bigger deal - you have to be weary about noise polution laws and the like.

You also need to have some form of security, because un-manned objects tend to go walk abouts.

What are your call times - if you will be performing in daylight, chances are you will not have much lighting (if any). If it is night time, lighting will be needed. Now if lighting is needed, that means you need something to hang from. If it is a decent sized show, this will probably mean truss. Working with truss means you have to consider local laws about assembly and rigging.

Power is a major thing you will need to consider, no matter where you are.  There are a few ways to go about it - a genset is one, the other is a temporary power installation - it all depends on how long the run is going for. If you are in the "Street" scenario, you may be able to nick some power from surrounding shops, but often they will not have the sort of feeds a show requires.

Plan for the worst - including rain, hail and wind. That means that you NEED to have power cables that are correctly rated, you should cover the stage if you can and really think about the way the stage is oriented. Find out the way the wind usually blows and take that into consideration.

Largely it depends on show complexity, location and format, so more info would be great.

720

Stage Management: Plays & Musicals / Hospitality backstage

« on: May 21, 2006, 05:29 pm »

I did not mean to sound offensive. It is just what I have noticed. I have worked in other positions, under female and male SM's and a lot of the cast honestly do not expect the male SM's to act in the same way as female SM's - and in many cases they don't. Neither is "Better", they are just "Different".

It is a fact of nature that we do treat men and women differently, just as it is a fact of nature that men and women have different thought processess. Women (as a general rule), are a lot more nurturing than men are (again, this is a generalisation and whilst I don't like typecasting, these are observations). Personality traits are dictated by a number of factors -  society, genetics, etc. - and whilst it is no longer "Men provide, women care for the family", society still places a lot of emphasis on the women in the role of carer. Divorces are a great example of this - it is assumed that children are better off primarily with their mother (at least in Australia it tends to be) - equal visitation is rare. And people tend to expect what society has raised them to expect. My answer was not intended to say "Hospitality type stuff is womens work", but rather to say that if I were a female, I probably would have been encouraged to be a lot more, again with that word, nurturing than I am as a male, and my cast would accept it more readily.

I am more than capable in the kitchen, and I have been for most of my life - single child raised with a father who was at work more often than not, with a mother who wanted many children (problems during my birth) and was off work due to back injury, had me spending a lot of time with her in the kitchen. I love cooking. When I was just starting out as an SM, I brought in home made biscuits one day, and everyone said "Did your mum make these?" or "Who made the biscuits?" - straight off the bat assumed that I didn't. That is just how people think (although that mindset is changing slowly I believe).

Now as I said, I believe cast and crew are old enough to look after themselves with regards to hospitality. They are grown men and women. I make the basic things available - but that is the extent I will go to. I believe it is not my role to brew 5 different kinds of coffee, provide 7 different teas and 7 different brands of milk and sweeteners. The simple fact is if they want something more than instant coffee and tea bags they can bring it in themselves.