Messages

76

College and Graduate Studies / Re: SM Internship

« on: Aug 16, 2006, 06:06 pm »

I'd say talk to both sides about the potential conflict.  It is possible that they understand and the class teacher may get out of some classes since you are working an internship that has to deal with your education as well, I know when I was in college I could have.  If you think SMing would be something you would be interested in then an internship is a great way to learn some more.  I graduated college a year ago and come this October I will be interning at the Goodman Theatre in Chicago, even though I've done a lot of SMing in college (and a little since) its still gonna be a great learning experience interms of me seeing how equity works more up close plus a good line on the resume and networking capabilities.

So yeah just talk to the people about the potential conflict sometimes they will be willing to work with you to make it all work out.

77

Students and Novice Stage Managers / Re: Resume References

« on: Aug 16, 2006, 12:20 pm »

Always check with the peopel you are using as a reference.  I also suggest being careful how you ask them too.  If you ask someone "Can I put you down as a refernce on my resume?" they can easily be like "yeah sure" however this person could have hated the work you did with them and if contacted they will say many bad things about you.  In this case they agreed that you can put them down as a reference but thats all they did.  So I would suggest being straight forward about it.  Either start out or follow up the previous question with something like "If I listed you as a reference would you give me a good recommendation?"  This asks them straight out if they will be a good reference to put down.  If they say yes then your set if they say no you can look for others for good references, you can also ask further questions as to why they wouldn't give you a good recomendation and use it as constructive criticism as maybe there are some things you need to work on, sure it might hurt to hear but in the long run it would be useful.

On my resume I list a Director, a Technical Director, and a Production Manger.  As you do more and more work (I have been told) it is important to use references from different places.  Its better to list people from different theatres instead of 3 people from the same place.  This helps to show that you have worked with more than one set group of people and can do good work all around and not just with a defined set of people.

78

Stage Management: Plays & Musicals / Re: Raked Entrance/Exit Ramp

« on: Aug 16, 2006, 12:09 pm »

My thinking behind it (and again its just my thoughts) is that on a raked stage the actors are  moving in pretty much every direction so if the rake is too large there would be extra training needed to accomodate fluid movement on the rake to prevent injuries.  With an entrance/exit ramp one would be running/walking straight up or straight down it, which pretty much anyone who walks can do. 

Ultimately to get the best answer I would suggest contacting Equity directly as they would be able to give you the best answer.  I searched through their rule book but didn't find anything about entrance/exit ramps.  Should there be no real standard I would say run up and down the ramp yourself and see how safe you think it is.  Adding some grip would make it safer from slipping and adding a handrail would also improve safety. 

79

Employment / Re: Skills

« on: Aug 16, 2006, 11:39 am »

I however wouldnt necessarily agree that the proficient in Rosco's Horizon lighting system is that important for an SM job, granted I don't really know what that is so i could just need to be enlightened on that.  I'm sure its a good thing to know as some places may put it to use.

Horizon is a lightboard operating system that can be loaded into an everyday computer.  Often used by companies that don't have the space/money for a full sized board.

I thought it was something like that.  Good thing to have ont the skills sheet but then again in looking for SM work i still wont agree its one of the most important skills you have listed.

80

Students and Novice Stage Managers / Re: Newbie at ASMing - would love some advice

« on: Aug 14, 2006, 11:16 pm »

the short answer "anything and everything."  Sounds like some things I have done before.  I say the most important thing is keep a cool head and just find the way of knowing everything that is going on.  Make set lists that give you a stage diagram of the set up, prop placements, who starts on stage.  Compare one set to the next and know what changes between sets.  Sometimes you might just have to add or remove one mic stand and change out the performers instruments.  Instruments get tricky as some performers should move them themselves, just make sure they know when to set them onstage.  Since time is an issue when that first set is going on be in the wing planning the move for the next set.  A lot of it just might be keeping the bands sound guy on time.  Know that you might go over the time by a minute or two, yeah it happens, but if you are getting it done as quick as possible people will understand in the long run.  It sounds like they need someone who can think quickly on their feet and keep things organized, most of the job is going to be solving the problems as they come up.  Ultimately the way he describes it sound a lot more daunting than it probably would be, at least that has been my experience in similar sounding shows.

81

Employment / Re: Skills

« on: Aug 14, 2006, 10:51 pm »

Microsoft Office Suite, set construction, dry walling, scenic painting, basic costume construction, character make-up, clerical skills, general knowledge of AEA regulations, proficient in Rosco’s Horizon lighting system

I was told by the PSM at my internship that the first one and the last 2 are the most important, everything thing else shows that I can do more that SM (and in case I have to go for a non-SM gig).

I would definately agree saying you know Microsoft Office Suite is an important one (as it is a standard application these days to be used by a stage manager cause pretty much anyone has the software).  I also agree saying you have knowledge of AEA regulations is important as equity places want to know you know that and some non equity ones still like to follow the basic regulations anyway.  I however wouldnt necessarily agree that the proficient in Rosco's Horizon lighting system is that important for an SM job, granted I don't really know what that is so i could just need to be enlightened on that.  I'm sure its a good thing to know as some places may put it to use.

On some advice I recieved from someone on the forums here (i posted my resume and site and asked for input and such to get more ideas) I changed my skills section to look like this:

Skills and Achievements:
Computer skills: Microsoft Office Suite, Folio Box Office Software, ProVenue, Lightwright 3, AutoCAD, 3D Studio Max, and Photoshop; Comprehensive stagecraft skills: carpentry, stage electrician, sound knowledgeable, rigging knowledgeable, hand and computer aided drafting, ETC literate; First Aid Training: Certified in First Aid, Adult CPR, and Infant and Child CPR by the American Red Cross; Theatrical Administration skills: box office, front of house operations, and hospitality; Eagle Scout Award, Member of the online Stage Manager’s Network (since 2006)

I'd say the most important ones in my section for SMing are the Office Suite and the first aide training, the other stuff shows I have a general knowledge of everything else, which i feel is important for the SM and non-SM jobs alike. After October I'll be done with an internship where I can learn more about AEA regulations and I will add that in.

Just my thoughts take what you like and leave the rest. 

82

Employment / Re: Electronic Portfolios- Need Help

« on: Aug 13, 2006, 12:50 am »

Depends who your asking. No one has ever asked me to show a prompt book in an interview, probably cause in theory the prompt book becomes the property of the theatre you did the show with.  If you want to show a prompt book I would say just scan off a couple pages that have more information on them cause face it if you send a whole book its not likely someone is gonna look at every page, they will flip through a few so you might as well just show then your best pages.  If you want to do a computerized version i would suggest doing it in *pdf as mostly anyone who uses the internet can read a pdf file, where as not everyone can do powerpoint.

Again those are my thoughts coming from someone who has never had to show a prompt book in an interview, and as I see it the job of a SM is so much more outside the prompt book that I dont see why places would ask to see one, especially considering they should already know the prompt book belongs to the theatre you worked for.

83

Employment / Re: Fired from an SM Job

« on: Aug 09, 2006, 11:52 am »

I totally understand you have to suck up and play nice nice to prospective donors and such.  What got me fustrated in college is the faculty would come through the hallway and start chatting with the actors as they are trying to get ready and give them notes about this that and the next thing, and honestly I don't think 10 minutes to places is the time one should be giving them acting notes.  And really some of the faculty never really had any connection directly with the show, they were never at rehearsals or anything and would just be backstage, so I didnt see reason why they should be there.  There are always some people that will show up backstage that in some cases really shouldnt be there but in others you can see reasoning behind it. With the donors backstage I think one needs to discover a tactful way to get them in a spot where they wont be getting in the way so that crew can finish their work, cause lets face it a lot of these donor's don't know the half of what goes into a production.  So as the SM i think you should be aware they are there so that you can inform them of some of whats going on and at the same time keep them out of the way.

84

Students and Novice Stage Managers / Re: prompt books

« on: Aug 08, 2006, 12:29 pm »

I kept all my prompt books from college as it was a momento and i figured somoene might ask to see a sample of my work.  But as somoene mentioned in another thread how often are you really asked to show a prompt book in an interview, your prompt book can show a little about your organizational skills but ultimately somoene can have a greatly organized binder but suck as a stage manager, you really just have to talk to somoene enough to see if they would be good.

But anyway I keep mine from college and its fun flipping back to some and seeing how poorly I did with them and then look at my current one and be like "what the hell was I thinking then" and it seems with each show the binder improves a little more.  So as I start my journey into the real world I am actually working on my first show where they say in the contract I have to turn the script into them.  So what I have is my own binder with tabs laid out that I'll use for everyshow I do (its a spiffy binder that has some extra pockets, a four tab file folder thing on the front cover, pen/pencil holder, zippers up, and has a flap on the front that holds a small notepad on the front which is very useful to jot down a quick note when you pass someone in the hallway or something.)  So I have all my tabs laid out and when the show closes i can take out all the info keeping my tabs and hand it into the theatre (i figure they can supply their own binder or an envelope to keep it all in, but given somones suggestion here I will probably add in post it tabs to break down the sections).  Then when my next show starts I can just begin filling in my tab sections with new paper work.  I don't know if I'm gonna try to keep copies of all my prompt books cause when I look around at the box of ones I have from college I think all they do is sit in a box taking up space do I really need them.  I know there are some shows I will keep though.

85

SMNetwork Archives / Re: Thoughts on Tablet/Stylus Computers?

« on: Aug 07, 2006, 11:42 pm »

I'm not using one yet but when I get some money again and I want to invest in one as well.  I know Toshiba makes a nice one, a friend of mine has one and really likes it but he doesnt use it for stage management.  Reasons I'm looking at it is cause you can make notes on the screen and carry it around with you (good for preshow check lists) and it would be light weight (my current laptop is kind of heavy.) 

But I'd also be interested to know what others have to say.

86

Employment / Re: Fired from an SM Job

« on: Aug 07, 2006, 10:59 pm »

(1 of the shows I fired an SM from (University show) was set back a month because the SM burnt the prompt copy and sabotaged the production in a lot of other ways).

See thats just not right.  You know if you are fired from a show granted its not gonna look good in some cases if the word gets around to future possible employers that you had to be fired.  I mean you could get it passed off a personality conflict, but if you go so far as to burn the prompt book thats gonna get around and you can't justify doing that.  As you said it was a university show but in most contracts I have seen for semi-professional or professional gigs you have to turn your prompt book into the theatre at the end of the run which justifies that the prompt book is the property of the theatre company.  So if they fire you and you burn the script they could really come after you for destruction of property. 

it just seems evil to sue a small kids' theatre. But my request was not out of line, the director was wrong to dismiss me, and the court agreed. I certainly don't put this show on my resume,

I can competly see why that wouldnt get on your resume, but at the same time if someone told me that story and i was in charge of hirering somoene I would look at at and be like, its good to see that if there is a problem you have no qualms about bring it up, even if it is with the director.  I know in my early college career I had a problem with bring up things that weren't quite right with some of the people in charge (i mean come on they are my teachers), but by the end I began telling faculty "we have a show going on can you please refrain from coming through the backstage hallway."  My advice for someone who may find yourself in a similar situation as you is that you can always talk to the producer and let them know about the problem as well, yeah ok its like your tattleing on them but honestly who is gonna condone someone swearing at children thats just not right.  I do comend you for talking to the director though.  And yeah suing a small theatre company sounds bad but hey if i was in charge of the company and that happened to me I'm sure there's a way I could turn around after your lawsuit and sue the director to cover the expenses I had to pay to you. 

87

Stage Management: Other / Re: Stage Managing Dance?

« on: Aug 06, 2006, 02:32 am »

Just to clarify i never said forget everything you learned, I was just saying push it aside, meaning dont be dead set that thats the way things will work.  Perhaps I worded it poorly i was rambling a bit.  In my colleges theatre department the TD tried to have everything run his way and really didnt want to compromise on the way he ran things.  The Dance Department hated him for this cause he wouldnt listen to what they were saying about how they need there show run. Its crazy cause the TD will say all kinds of bad things about the dance department to SM's who then become terrified of working dance shows, and really in my experience they were some of the funnest shows I did in college and I had a great time working with the dance department (they didn't make me an "honorary dancer" for my dance skills.) they liked working with me cause they said I come in and they can see I actually care about their show, which is something the TD and the other tech faculty don't. So the dance department gets a bad image of being a pain to work with when they really dont deserve it.  So what I was saying is more telling them push aside what you know about dance and such from the TD and tech people and go in and see what the choreographers need cause ultimately it is their show you are working for. 

So again by no means am i saying to forget everything, you use all the same skills, but really I guess what I'm trying to say is if you have never done it before don't go into it thinking everything will be just like a straight play cause its not (but then again you shouldnt go into any show expecting it to be like stuff you have done before.)  My statements from before pertain more so to the calling and tech process of the show.  Those are very different (at least in my expirience).  Sometimes you never did the whole thing in show order until first dress, and in one tech rehearsal instead of jumping Q2Q you would get cue placements from the LD before rehearsal, run a piece calling as best you can, get some notes run it again make some notes then move onto the next piece cause they don't want to over strain the dancers.

So yeah my comments are more so based on a particular circumstances i found myself in and know where other are in that same place, thats why I tell them that.  Going back and reading some of what I said, yeah i agree it sounds a little goofy. The basic point is treat it for what it is, a new show that you need to organize all the workings of to the best of your abilities based on the ways the people within the company work, some may want it done they way they have done it many times before cause they know it works and is safe, others may open up to new ways from you how to make it better.  Remember its all a collaborative art and as the SM you are there to keep everyone communicating and collaborating and making sure everyone is happy.

88

Stage Management: Plays & Musicals / Re: TECH - HELP!!!!!

« on: Aug 06, 2006, 02:02 am »

Rebbe had a good point.  Good morale is a great thing to bring to tech.  Even in a situation where everything seems to be crumbling down just break it down to one problem at a time and provide solutions, as all major problems are usually just caused by a bunch of little ones.  I've been told several times that one of the best things about me as a stage manager is that i have a very calm demeanor.  You'd be amazed how much it helps that when everyone is stressed and about to freak out and the stage manager is sitting there calm and collected (even though on the inside you may be completely frazzled and at the end of your rope) how that calmness trickles out to others and they are calmer.  You are the center of the little universe, if you freak out everyone will start freaking out, but if you are calm people will still freak out but not all at once and it is easier to calm them down and focus the energy at the problem at hand and not freaking out.

89

Stage Management: Plays & Musicals / Re: TECH - HELP!!!!!

« on: Aug 05, 2006, 12:42 am »

I agree with what kjdiehl is saying.  The TD at my college always used to say that when posting things for actors to make it as simple as possible.  Use the simplest words you can find, short sentences, just the facts.  Its not saying that actors are stupid, its just a matter they're minds are focused on different things then ours are as a stage manager. As a stage manager we want to know everything.  Like kjdiehl said actors are morely focused on just their part.  So simple is always better. 

90

Stage Management: Other / Re: Stage Managing Dance?

« on: Aug 04, 2006, 03:54 pm »

As I'm sure everyone knows there is no right way and no wrong way.  Some people and some shows can probably call great with just a stop watch, other can be great with just hearing the music, others just knowing the dance.  The trick is always what works best for you and for that particular show.

Now with that said I'l tell you what has worked best for me and the various dance shows I have done. This is for dance concerts where there are multiple pieces that have no relation to each other.

My cue sheet is laid out in a few columns:

1: Time (when the cue takes place from start)
2: Flys
3: Sound
4: Spots
5: Lights
6: Stage action (what the dancer does that tells me to call the cue)
       (ie. "dancers move to form upstage line)
7: Cue action (what is happening as a result of the cue ie. "Jess's solo light"

I laid it out this way since i use a combination of the stop watch and stage action to call the cues.  Looking down the far left hand column (#1) i see that at 0:55 there a cue, following that line over i can see that columns 2,3,4 are empty so there are no fly, sound, or spots and notice that Lx 45 happens. Looking in the stage action column i see it happens "with the music accent starting Jess's solo," and from rehearsal i know jess steps out of the line for her solo.  Then cue action tells me that her solo light comes up.  Trial and error led me to lay them out this way as in dance it is often lights that has the most cues so i wanted its numbers next to the stage action and then usually sound started at the start of the piece and ended at the end same with flys (typically just the main curtain) it could be farther away.  So when I follow my cuesheet I see the approximate time the cue is suppose to happen (cause face it i can start my watch when i say go but my sound ops finger could slip and then the music doesnt start for say another 2 seconds which really throws things off). So then as time approaches the various cue times (typically within 20secs) i give the standby and then watch or listen to the stage action for the point the cue happens.  Never had a problem.  Even when designers would just give me times either during tech or during a paper tech if we have a rehearsal on video (very useful if you can manage to record a run before tech to reference on your own) i can be like " ok so you want it when so and so does this" and they go like exactly. 

I also highly feel there is a real art in it as well.  You really need to know the music and the dances just as much as the dancers.  At least twice in every dance show I have done (and some straight plays as well) during a tech run I will be calling the show and feel so focused and connected to everything going on that i'd be listening to the music, following the action on stage, knowing a light cue is coming up, feel that point and call the cue.  End of the piece comes LD turns to me and is like "oh so you know you called 57 to early.....But I really like it so we're gonna keep it and now add 57.5 where 57 was originally suppose to go which is when this happens."  And thats why the lighting designers loved working with me on dance because they know I possessed that sense to be able to feel when the piece (music and choreography) calls for that light change (granted ill admit i dont know how things should change to make it look pretty on stage, but you can definately feel certain points are calling for some kind of change.)

And I know this last bit is a bit off topic but it seems a good place to add it in, because it is one of those things that really pissed the hell out of me about my theatre department in collge.  Do not treat a dance show like a play.  I know it sounds really simple but I saw so many conflicts between the dance department and the tech area of my college cause all the tech people tried treating the dance shows the same way they treated a play. In production meetings, in techs, in overall production.  They are completely different beasts and need to be treated as such.  In college I was very much liked on the dance shows and the dance faculty and choreographers to this day keep saying they wish i was still there and keep telling me to come back and save them.  And when others i still know in college there get ready to stage manage one of the dance shows I'm always like "take mostly everything you know about stage managing a play, and push it aside.  Don't think you know what to do cause you did a couple plays.  Go in not knowing what you are doing, and take the challenges as they come.  Just cause you do that thing for a play does not mean you should force it to work here, cause face it some of the choreographers have a set way of how their dance shows work and the tech people in this department dont want to conceed to that cause that would make it seem like they are wrong in the way they do things.  And you know none of them can be wrong."

Anyway if you want to see a sample of my cue sheets let me know and I can email a copy and answer more questions if they arise.