Messages

76

College and Graduate Studies / Re: Millikin?

« on: Mar 18, 2013, 10:10 am »

Does anyone know anything about Iowa's program? I would start with a BA in theatre arts with a focus in stage management and then possibly get an MFA in stage management.

Can I ask why you feel that you need both? I have not seen many people benefit from both an undergrad and grad degree in Stage Management (mainly because it is the same curriculum), anyone else has a different opinion? All I see is more debt, and you working for free as a stage manager and paying to learn things you could learn on the job, and being behind all your peers who were gaining professional credits, and contacts, and establishing themselves in the field.

77

Stage Management: Plays & Musicals / Re: JOB DESCRIPTION: SM Role in the automated future

« on: Mar 04, 2013, 09:39 pm »

I tend to agree with most of what has been said so far. I definitely fall into the camp that would have a problem letting an outside party (the light board op) call his/her own cues. As stated by the folks above, the live performance will never be perfect, and performance-time decisions need to be made by the person who knows the production inside and out—the stage manager. If something goes wrong with lighting, it is far better for the stage manager to make the choice to keep the current cue up a little longer and to skip the next if, say, going to the next cue would leave much of the stage in darkness. The light board operator might not have the necessary knowledge of the production to make the best call, and ultimately shouldn't have that responsibility placed on him/her in the first place. If the board op is being forced to make artistic or, more importantly, safety-affecting decisions, then the setup is not, in my opinion, the proper one. The stage manager has the knowledge necessary to keep everyone safe and get through the show most effectively, even if things go horribly awry; the board op doesn't—simple as that.

I see what you mean but I feel like that really underestimates the abilities of the board op. If they are the type to be taking their own cues then they need to have a lot of knowledge about the show, and they have to be paying attention, they know what the cues do, and they should be tuned in enough to know when something is going horribly wrong.  Plus if something is going wrong there is nothing to say you aren't still in communication with them. Using the cirque example: Lighting was on a different channel and took their own cues, but there were always changes and things in the show that happened on the fly. Sometimes a last minute act would be put in, or an artist would tell us they will be altering the staging they normally do, the stage manager just opens all channels and communicates that to them.

78

The Green Room / Re: SMNetwork fundraising drive 2013

« on: Mar 04, 2013, 09:25 pm »

I seriously don't know what I would do sometimes without all of the knowledge on here! Thanks!

79

The Green Room / Re: Weird Dreams

« on: Mar 01, 2013, 03:41 am »

I didn't say it was good! 
AI remember thinking in my dream that only a 1/4 of the words in this opera are German and probably not conjugated correctly, so it really wasn't good. It's just amazing what the mind can do.

80

Stage Management: Plays & Musicals / Re: JOB DESCRIPTION: SM Role in the automated future

« on: Mar 01, 2013, 03:36 am »

Just like the job has changed over the years, and our duties can vary from company to company, the inclusion of more automation will change it again, but definitely not get rid of us. The tasks may be done a different way, but there will always be a place for a "stage manager". So even though SMs at Cirque don't call light cues, they are responsible for the recording and archiving of all the performances which has it's own cues and processes. One thing replaced with another. We will just have to see what new things are thrown at us in the future.

81

Stage Management: Plays & Musicals / Re: SCENERY: Sand Onstage

« on: Mar 01, 2013, 03:13 am »

Where's the story of the person who did a show with sand and after the run it was extremely clean and they never saw it again? Haha!

I did a show with sand, had to load all of the sand out through small doors, so it was all done by wheelbarrow...a wheelbarrow... through the sand, one of the worst days I can remember. Finally someone suggest using 2x4 across the sand but if you rolled off the plank the sand went everywhere, and the sand was in a pit so you couldn't start at the edge and move in cause then you wouldn't be able to get out of the pit with the extremely heavy wheelbarrow.

As for keeping the sand nice, they would rake, use big magnets cause somehow everything got lost in the sand pit. and spritz before the show. This was of course they year after they did the show with rocks and dirt...that theatre will never be clean.

82

Tools of the Trade / Re: SM Kit *for students*

« on: Mar 01, 2013, 02:58 am »

In addition to what most people have said I like to have:
- Screwdriver and Hammer (mostly for threatening people, just kidding, sort of)
- All kinds of glue (gorilla, super, clear, stick)
- Flashlight, and other lights.
- Small speakers
- My personal headset for when they have the giant scary ones that kill your ears.

And then a bunch of other stuff I just think is fun, or entertaining, or potentially randomly useful but not which you would need in a beginning kit.

Matthew - I completely understand your philosophy on hiring the person not the tools and 100% agree in the case of pro situations, but what about amateur companies? I'm not sure about in the States, but here SM budgets on amateur productions are sub-zero; we're expected to provide what we need, and then some. Is it better to fight for a policy change and get a cut of the budget, or should we suck it up and provide equipment including some consumables?

But ultimately, it's about it's what you feel comfortable with and if it makes your job easier.  We have the same issue here for amateur theater.  To be honest, I am trying to lead a small rebellion about stage management and low paying jobs - so I am probably not the best person to ask about - I am wishing for better working conditions for stage managers across the board.  And truly wish that supplies were provided for you everyone.

I'm of the same mindset, I show up to most gigs with a pen, pencil, laptop, some post-its and a question about how expenses are handled. Companies of all sizes should be able to cover our basic needs, especially when we know how much is not going to our salary, our supplies are not that expensive.

83

Students and Novice Stage Managers / Re: Should I switch from journalism to theatre major halfway through college?

« on: Mar 01, 2013, 02:28 am »

Unlike the other guys I did go to college already knowing I was going to get my BFA in Stage Management, BUT, and this is a huge but, I wouldn't say that was my best decision ever, nor is it necessarily the path to go especially not if it involves more years of schooling.

Before you make any decision I would do a bit more research. You will find a lot on these boards and they may help you to fully realize what comes with this career field. Shadow a few stage managers so you get the chance to really see what they do. Interview a few about their lives, is this the type of life you want to have? Experience an internship or apprenticeship. Read these boards you will see some great stories and a lot of all too common horror stories. Check out some job postings on Backstagejobs, Playbill, Artsearch, look at what is or isn't offered would these be the types of jobs you want to take how do these stack up to your dreams, cause you will have to wade through a lot of that to get there. Ask students in the program to tell you about it, but not at an open house, do it at a party or in the dining hall you will get real candid answers. Consider why you want to do this, if it's not because you love stage managing/directing (which you have never done) and cant see yourself doing anything else, you should really reconsider.

Now if you get through all of that and decide you still want to pursue it, don't waste time adding more years of school. I would say if you really feel like you have to, then get a minor. But I really wouldn't bother with it, gain experience, start working and making connections and building a resume.

84

The Green Room / Re: Weird Dreams

« on: Mar 01, 2013, 01:28 am »

I was going to reply to this earlier saying I never have work dreams but I finally had one last night. I was at an opera fringe festival sort of thing and all the operas were performed at the same time and people would just randomly wander around and choose. I was told I had to go run this opera in another location and it was a weird coffee shop or something I had a perfectly prepared book and my only problem was that I couldn't find a good place to stand to cue performers so I kept moving around into different places backstage. The coolest thing about the dream though is that I composed an original German/English opera in my sleep (I think just the German words I can remember were featured.) It wasn't even stressul just an awkward dream.

85

Tools of the Trade / Re: Any Stage Managers use LiveScribe Pens?

« on: Feb 25, 2013, 02:20 pm »

I own one that I used in college for classes. I considered it for some stage management use but never got around to figuring out how I could use it on a day to day basis. The best use I had for it was production meetings I could jot quick notes about things and it keeps all the audio from the meeting so I can go back and get all the details (or the third, fourth, and final decision about something). Especially useful if I am the only one taking notes. I always ask people at the beginning of the meeting if it is okay.

86

Students and Novice Stage Managers / Re: Is It Even Worth It?? (Conflict resolution)

« on: Feb 24, 2013, 03:29 pm »

I should add, I wasn't even allowed to go into my theatre classroom during my last semester of high school, because I "threw a chair at my director",

What?! 

It was a bad day...Because I didn't want to play Henry Higgins in our production of My Fair Lady and I wanted to stage manage, my director said I had a bad attitude and must be having problems at home, she then threatened me with being impeached as president of the thespian society, and she would revoke my recommendation letter to the college that I actually ended up going to. She was also forcing me to try to fix a backdrop that was painted crooked and do lights for the show. Let's just say I got a little frustrated and I actually hit a chair upstage toward the drop and away from her (she was about 20 feet away in the house).  By the time I was willingly taken to the principal's office the story had become I threw a chair at her. Anyway I had class with my guidance counselor for a few months...

Is there a "That time I lost my cool..." thread on the boards?

87

Students and Novice Stage Managers / Re: Is It Even Worth It?? (Conflict resolution)

« on: Feb 24, 2013, 02:43 am »

I should add, I wasn't even allowed to go into my theatre classroom during my last semester of high school, because I "threw a chair at my director", I'm still a professional stage manager so it all worked out. You seem to have a lot going for you, more than I did, so you will be more than fine.

88

The Green Room / Re: "I quit!"

« on: Feb 24, 2013, 02:34 am »

Such as what? I just had a discussion with someone else about this, and it's got me thinking.

One big thing for me is having my partner housed with me so I try as hard as I can to negotiate that into my contracts. I do try to be helpful and trade off things, like on a recent contract they offered me a car and travel reimbursement, but I knew I would have my car a couple hours away right before the contract started so I traded that for higher pay and housing for two. I've negotiated pay, duties, dates, travel stipends, a lot of those things Matthew mentioned but I also might steal some from that list...

89

Stage Management: Plays & Musicals / Re: PEOPLE: Working with an IA crew

« on: Feb 23, 2013, 09:04 pm »

I had a great meeting with the TD/Production Coordinator today and he was a great guy and very helpful in letting me know whats what, and dealing with my stupid questions. I also got to meet with him, head of wardrobe, and the entire wardrobe crew, so that was also really helpful. I also made sure to ask about water, so thanks for the tip. I feel like a kid in candy store at this point, it's such a nice space, newly renovated and all, I'm definitely not going to take it for granted.

90

The Green Room / Re: "I quit!"

« on: Feb 23, 2013, 08:57 pm »

There are things we can do - one, we can stop the high output of stage managers from our educational system (or at least hope the educational system raises the bar on the students they are putting out).  Two, we can stop accepting these no-pay or low-pay jobs.  Three, we can stop taking jobs with these horrific working conditions.  Four, we can have the guts to quit jobs that become unbearable or abusive.  (I know that many producers will just turn around and pluck someone else from the over populated work force to replace us . . . but if people just refused to work under these conditions, hopefully in the long run the working environments will change). 

Sounds like a plan! Another thing people don't think about but I always do is actually negotiate contracts. People are normally shocked by the things I am able to negotiate but I remind them that if they don't even try or ask then of course they wont get them.