76
Tools of the Trade / Re: Fractured Atlas online rental marketplace (NYC only)
« on: Sep 17, 2012, 10:42 am »
This. Is. Awesome.
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
Show Posts
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
77
Tools of the Trade / Re: Tool Belt
« on: Jun 29, 2012, 05:44 pm »
Manhattan Wardrobe supply sells wardrobe aprons which are fabulous, and while you're there, throw a bite lite from them in there as well. they make them with the cord on the front end of the light so you can actually bite down comfortably... any run crew member should have one cause sometimes you need two hands to get stuff done 
78
Stage Management: Plays & Musicals / Re: TEACHING: Teaching someone to call the show
« on: Jun 15, 2012, 09:17 am »Quote
Then I have to manage the actors as some get a bit worried when you change their routine
Yes! This! On my current long standing gig we have had the same SM team for the last year and our cast got truly nervous when an outside sub was brought in to call the show as an added backup.
In my experience even on the shortest of runs it is super helpful to make sure the SM/ASM are on the same page in case there is a problem and someone needs to change their track. The whole 'hit by a bus' scenario comes to mind. For me it is so important that if I'm calling a show I also know and am familiar with the ASM track, just in case I need to run it, or train a last minute replacement. Similarly when I'm an ASM I am always very attentive to know that if the PSM is out that I need to be able to step up.
In that way I think it is easier to start as an ASM and then learn to call the show, gives me a much better feel of the show as a whole.
79
The Green Room / Re: Introducing the Unicorn Rainbow Sparkly Theatre Company!
« on: Jun 15, 2012, 09:06 am »
Leaving a half eaten Ricola backstage is a fine-able offense.
There will be a company manager who is adequately available at all times, and all the actors will actually know which items fall on company management and not stage management.
Stage managers have their own single stall bathrooms adjacent to the booth. (I can't tell you how many times I just want to use the bathroom and have no desire to field the 8 million questions from cast/crew along the way)
There will be a company manager who is adequately available at all times, and all the actors will actually know which items fall on company management and not stage management.
Stage managers have their own single stall bathrooms adjacent to the booth. (I can't tell you how many times I just want to use the bathroom and have no desire to field the 8 million questions from cast/crew along the way)
80
The Green Room / Re: ARTICLE: Work Balance
« on: Apr 09, 2012, 01:39 pm »
Wonderfully on point. Especially in this industry where martyrdom is such an issue... I have definitely had to learn to prioritize my time at work so I'm not spending more time than necessary on anything.
On my current show my cast is all a pretty tight group who are all friends, and for the life of me I don't understand why they are always at work early (several show up at crew call) and they all stay at least a half hour post show lingering and chatting... all while complaining that they are underpaid and overworked. Their actual time commitment required is only 2.5 hours per show (including half hour call and getting out of costume post show) yet they're there at least 3.5-4 hours a show.
Meanwhile my entire call is 3.5 hours and I only stray from that if there should be extenuating circumstances to deal with.
On my current show my cast is all a pretty tight group who are all friends, and for the life of me I don't understand why they are always at work early (several show up at crew call) and they all stay at least a half hour post show lingering and chatting... all while complaining that they are underpaid and overworked. Their actual time commitment required is only 2.5 hours per show (including half hour call and getting out of costume post show) yet they're there at least 3.5-4 hours a show.
Meanwhile my entire call is 3.5 hours and I only stray from that if there should be extenuating circumstances to deal with.
81
The Green Room / Re: April Fools!
« on: Apr 06, 2012, 11:38 am »
Our sound engineer pranked our actors during a final blackout and told them the system crashed and that she'd be doing all the sound effects live for the finale.
82
Stage Management: Plays & Musicals / Re: Packing for a Summerstock
« on: Apr 06, 2012, 11:35 am »
South Dakota is BEAUTIFUL in the summer (I'm from ND and am partial to the summers there)
Summers in that area are beautiful (70's, 80's and not humid) - but I cannot stress enough: BUG SPRAY. If you are near any body of water they'll be really bad, especially after dark.
Summers in that area are beautiful (70's, 80's and not humid) - but I cannot stress enough: BUG SPRAY. If you are near any body of water they'll be really bad, especially after dark.
83
Stage Management: Plays & Musicals / Re: Packing for a Summerstock
« on: Mar 27, 2012, 12:23 pm »
Power strips, extension cords!
Sunscreen. Lots of sunscreen.
More underwear than you think you'll need - especially if laundry is hard to come by.
a good pair of headphones to watch movies, listen to music, etc if you have a roommate who has a different schedule.
a few good water bottles - the more durable the better. Granted the last time I was at summer stock was many years ago, but in upstate NY in july it's easy to get dehydrated.
seems silly, but a small lamp is sometimes nice, some rooms only have overhead lighting and just a little table lamp can make it a little more homey.
Sunscreen. Lots of sunscreen.
More underwear than you think you'll need - especially if laundry is hard to come by.
a good pair of headphones to watch movies, listen to music, etc if you have a roommate who has a different schedule.
a few good water bottles - the more durable the better. Granted the last time I was at summer stock was many years ago, but in upstate NY in july it's easy to get dehydrated.
seems silly, but a small lamp is sometimes nice, some rooms only have overhead lighting and just a little table lamp can make it a little more homey.
84
The Green Room / Re: What's next?
« on: Mar 18, 2012, 09:38 pm »
One day I see myself going on to become a company manager/general manager but sometimes I daydream of:
- Stay at home mom
- Cake decorator
- Culinary school
- Knitting store
But, like Matthew, I see myself in this business of show for quite awhile longer
- Stay at home mom
- Cake decorator
- Culinary school
- Knitting store
But, like Matthew, I see myself in this business of show for quite awhile longer
85
Stage Management: Plays & Musicals / Re: SAFETY: Guns and promenade staging
« on: Mar 13, 2012, 06:19 pm »
This whole thing should most likely get passed up to a props rental place that can adequately provide you with something that will provide the effect safely.
In the past where I did a show in a small (under 99 seat) house here in NYC we had a gunfight as our climax to the show and had about 6 prop non-guns provided by a props rental place who provided us with the size blanks appropriate for the venue (which I believe ended up being 1/4 loads) and they didn't discharge any casing so they were safe for the actors as well any audience (our first row was maybe 5 feet away)
That all being said, I would have never felt safe doing the whole scene without the support of the professional props firearms and the company who supplied us with adequate training and safety measures.
In the past where I did a show in a small (under 99 seat) house here in NYC we had a gunfight as our climax to the show and had about 6 prop non-guns provided by a props rental place who provided us with the size blanks appropriate for the venue (which I believe ended up being 1/4 loads) and they didn't discharge any casing so they were safe for the actors as well any audience (our first row was maybe 5 feet away)
That all being said, I would have never felt safe doing the whole scene without the support of the professional props firearms and the company who supplied us with adequate training and safety measures.
86
The Green Room / Re: Meals!
« on: Mar 13, 2012, 06:12 pm »
I recently got a crock pot and have been doing one big meal a week in it and then freeze the leftovers for work to curb my spending on snacks and dinner - although I do have the luxuries of a fridge and microwave at work so this makes it easier!
It also makes my coworkers uber-jealous. Your dollar slice of pizza doesn't compare to my beef stew!
It also makes my coworkers uber-jealous. Your dollar slice of pizza doesn't compare to my beef stew!
87
The Green Room / Re: Hell in a Handbag (A Game for Stage Managers)
« on: Mar 12, 2012, 10:32 am »
How old does the "young girl" need to be? Does she have any lines? Is there a wrangler? When should she have her costume fitting? Does she need to resemble anyone in the cast? Has the casting director been notified of this? When is her first rehearsal? Will we need her throughout tech? What is the probability of adding her into other scenes once we cast her? Does she need to be picked up? Which actor would pick her up - does he/she have a bad back? Is she Equity?
New Note: Katie needs larger finger condoms.
New Note: Katie needs larger finger condoms.
88
Employment / Anyone work for Gateway Playhouse in the past?
« on: Mar 06, 2012, 10:35 pm »
Hi all -
Tried BTDT but didn't pull up any results so I thought I'd start a thread here - I'd love to hear from anyone who has worked for them in the past (the good, the bad, the ugly)
If you'd like to PM instead of air any dirty laundry, please feel free.
Thanks!
Tried BTDT but didn't pull up any results so I thought I'd start a thread here - I'd love to hear from anyone who has worked for them in the past (the good, the bad, the ugly)
If you'd like to PM instead of air any dirty laundry, please feel free.
Thanks!
89
Students and Novice Stage Managers / Re: Stage Managing for Disney
« on: Mar 06, 2012, 10:09 pm »
I too am a big fan of Disney - and have chosen not to work for them for the exact reasons some people have listed here because it strips away the magic and I'd much rather enjoy the illusion and work on non-commercial and non-corporate projects. The limited times I have been employed by them on projects I didn't really enjoy it and didn't feel like I was an SM (much like Matt talks about above)
That being said I have not and probably would never turn down a Disney Broadway contract. While they're not necessarily successful long running shows (Tarzan anyone?) I would love that experience for my resume and life.
Much like many of my generation of stage managers, I would have given my right arm to work on Newsies. Le sigh.
That being said I have not and probably would never turn down a Disney Broadway contract. While they're not necessarily successful long running shows (Tarzan anyone?) I would love that experience for my resume and life.
Much like many of my generation of stage managers, I would have given my right arm to work on Newsies. Le sigh.
90
Stage Management: Plays & Musicals / Re: NEW WORKS: Making a prompt book when there is no script at all
« on: Mar 01, 2012, 03:34 pm »
When I originally started on my current show (almost 9 months ago! sheesh) all that was given to me was a 4 page double sided 'cliff notes' version of the show and a DVD of a performance. This is how they had trained 4 other casts. Before mounting the NYC production there had never been a SM who called all the light and sound cues, it had been run live in a mish-mash of ways by operators.
So, naturally, our PSM created a script/libretto (entire 4 minute medleys were just listed on the original 'script' as "BOYS MEDLEY") that continued to evolve and change until opening (and sometimes beyond). There was much clarification needed between the cast and creative team on terms for parts of the show/songs - since we had no true script/score it was hard to say where we were going from sometimes... There was also a lot of stress when the lighting designer realized he had to program cues and that our operator wouldn't be running it live each night. Hahaha
A lot of the show is audience participation and that is hard to anticipate how it will go so many moments have benchmarks of which bit is first, and which is last. Some nights it's a grab bag of what we get, but now with several hundred shows under our belt it's found a good groove.
Now that we've created an entire cueing and blocking script - it's everything we can do to keep everyone's hand off of it from the other companies. Ha.
So, naturally, our PSM created a script/libretto (entire 4 minute medleys were just listed on the original 'script' as "BOYS MEDLEY") that continued to evolve and change until opening (and sometimes beyond). There was much clarification needed between the cast and creative team on terms for parts of the show/songs - since we had no true script/score it was hard to say where we were going from sometimes... There was also a lot of stress when the lighting designer realized he had to program cues and that our operator wouldn't be running it live each night. Hahaha
A lot of the show is audience participation and that is hard to anticipate how it will go so many moments have benchmarks of which bit is first, and which is last. Some nights it's a grab bag of what we get, but now with several hundred shows under our belt it's found a good groove.
Now that we've created an entire cueing and blocking script - it's everything we can do to keep everyone's hand off of it from the other companies. Ha.