76
The Hardline / Re: Using glass onstage
« on: Jun 09, 2008, 11:37 pm »
That's news to me . . .I'd check up on that before I put in notes.
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77
Tools of the Trade / Re: Special Effects Classes?
« on: May 27, 2008, 11:18 pm »
Everything I know about blood, from the razors in Sweeney Todd to a simple blood pack, I learned from the props master at The Repertory Theater of St. Louis . . .although if you are lucky enough to find a good makeup artist they might have some cool tips up their sleeve, too. There is an awesome fake blood called Reel Blood, it's expensive as all get out but so (SO!) worth it.
Now, I also do special effects makeup on the side which is something I picked up from someone who did costume crafts. I'm pretty darn good at burns, scars, wounds, gashes, bruises, scrapes, and things like that. Books are also a great resource in the world of special effects makeup . . . and to practice, I did makeup for all my friends one year for Halloween, whether they wanted to be a drag queen or a zombie, I did it all. Sometimes you just have to practice on yourself for the sake of it . . . take a picture and make a portfolio, even if it is all you as 30 different characters and creatures.
If you want to know more about a specific effect, PM me.
Now, I also do special effects makeup on the side which is something I picked up from someone who did costume crafts. I'm pretty darn good at burns, scars, wounds, gashes, bruises, scrapes, and things like that. Books are also a great resource in the world of special effects makeup . . . and to practice, I did makeup for all my friends one year for Halloween, whether they wanted to be a drag queen or a zombie, I did it all. Sometimes you just have to practice on yourself for the sake of it . . . take a picture and make a portfolio, even if it is all you as 30 different characters and creatures.
If you want to know more about a specific effect, PM me.
78
Stage Management: Plays & Musicals / Re: Guillotine
« on: May 21, 2008, 10:17 am »
Oh Geez . . .
Phil, I don't know the show, so I'm not sure if it's just there or if it has to be practical, but I think you are going to have to build this one. It should be super easy, just do a bit of research beforehand to get the details right and then have at it.
I should start a Props Depot . . . you can do it, we can help.
Phil, I don't know the show, so I'm not sure if it's just there or if it has to be practical, but I think you are going to have to build this one. It should be super easy, just do a bit of research beforehand to get the details right and then have at it.
I should start a Props Depot . . . you can do it, we can help.
79
Stage Management: Other / Re: Opera tips
« on: May 20, 2008, 12:19 pm »
For more information about opera, Check out the Opera Chat Log filed in the Green Room.
80
Stage Management: Plays & Musicals / Re: Glass Menagerie
« on: May 14, 2008, 10:14 pm »
Well, hmm, I don't have the script in front of me, so let me start with what I know, and we'll work backwards.
There are two types of hot glue, one melts at a much lower temperature than the other. The lower temperature version is the one you'll want to use.
You know you need a unicorn. In my mind, I'm picturing this unicorn laying down with his legs tucked close to him (ok, so maybe unicorns don't lay down, but unicorns don't exist, so work with me.) . .at least he's not standing on all fours. So you'll want to start with a steady hand and lay down the first layer of hot glue on a surface that he'll either pop off of or you can scrape him off fairly easily once he's done. Begin with the outline and just lay down one ring of hot glue in that outline, and let it cool. Lay your next ring right on top of it once it has cooled a bit, and just create a hollow unicorn. I know this doesn't sound easy, but you can always go back with an exacto knife to cut in some details. I'd suggest researching glass animals, find one you like, and try to get as close to it as possible.
Oh, make a butterfly. That's easy. A bird would be fairly easy too. I would just avoid anything that actually has to stand on four legs. If you can sculpt it so that it's laying down, you'd be saving yourself a bunch of time. Am I making sense? If not, PM me and we can talk further.
By the way, I've made Candles, wands, pottery, vines, goblets, and similar items out of hot glue. Really.
There are two types of hot glue, one melts at a much lower temperature than the other. The lower temperature version is the one you'll want to use.
You know you need a unicorn. In my mind, I'm picturing this unicorn laying down with his legs tucked close to him (ok, so maybe unicorns don't lay down, but unicorns don't exist, so work with me.) . .at least he's not standing on all fours. So you'll want to start with a steady hand and lay down the first layer of hot glue on a surface that he'll either pop off of or you can scrape him off fairly easily once he's done. Begin with the outline and just lay down one ring of hot glue in that outline, and let it cool. Lay your next ring right on top of it once it has cooled a bit, and just create a hollow unicorn. I know this doesn't sound easy, but you can always go back with an exacto knife to cut in some details. I'd suggest researching glass animals, find one you like, and try to get as close to it as possible.
Oh, make a butterfly. That's easy. A bird would be fairly easy too. I would just avoid anything that actually has to stand on four legs. If you can sculpt it so that it's laying down, you'd be saving yourself a bunch of time. Am I making sense? If not, PM me and we can talk further.
By the way, I've made Candles, wands, pottery, vines, goblets, and similar items out of hot glue. Really.
81
Stage Management: Plays & Musicals / Re: Glass Menagerie
« on: May 14, 2008, 03:20 pm »
You know, I've never actually made "glass" animals with hot glue, but I've made all kinds of sculptural props with hot glue. It would take some time and patience and some careful molding of hot plastic, and would probably have to be done in steps, letting the hot plastic cool, but I bet it would work . . . .so in the right hands it could be good and cheap, just not fast.
82
Students and Novice Stage Managers / Re: writing standbys & cues-----
« on: May 13, 2008, 01:24 pm »
I would use post it flags and write out exactly what you need to say on that flag, and put it where you need to in your score or script. Once you get more used to calling a show, "SB" can replace "Standby" on your post its, and you don't need to write out "go" . . . just have them on a green post it or whatever color coding system works best for you.
The point, especially for your first shot at it, is to make it unmistakably clear what you need to say over headset and when.
Let us know how things turn out.
The point, especially for your first shot at it, is to make it unmistakably clear what you need to say over headset and when.
Let us know how things turn out.
83
Students and Novice Stage Managers / Re: College Choices in the US Midwest
« on: May 08, 2008, 12:06 am »
The short answer? Go to DePaul. Do you know how many people apply for those slots, and you were selected? Take out student loans and pay them off over time. It's how higher education has come to work.
84
Stage Management: Plays & Musicals / Re: Musical Suggestions for a limited stage.
« on: May 06, 2008, 11:19 pm »
I second COMPANY and would like to suggest INTO THE WOODS
85
The Green Room / Cooking for Stage Management
« on: May 05, 2008, 11:28 pm »
In chat tonight we were discussing staying healthy during hectic times . . . .as pointed out a lot of that has to do with taking care of yourself, eating well, getting plenty of sleep, etc.
I'm completely serious . . .does anyone have any Stage Management Superfoods that they make and enjoy?
My favorite is a pasta salad that has plenty of diced onion, carrots, bell pepper, parsley, relish, and chicken in it . . .I figure it has a serving of just about everything, and I can make a huge batch of it that will last me forever.
I'm completely serious . . .does anyone have any Stage Management Superfoods that they make and enjoy?
My favorite is a pasta salad that has plenty of diced onion, carrots, bell pepper, parsley, relish, and chicken in it . . .I figure it has a serving of just about everything, and I can make a huge batch of it that will last me forever.
86
Tools of the Trade / Re: Cue light system
« on: May 03, 2008, 05:27 pm »
You can and should use cue lights for deck and rail cues, and we use different color cue lights for cues that happen in rapid succession.
"Standby Deck Cue C, here is your red cue light, Deck Cue D, here is your Yellow Cue Light, Rail Cue 3 here is your blue cue light, and rail cue 4 here is your green cue light."
As you call the standbys you flip the lights on, and as you call the go you take the light out, so the crew has the visual cue and the audio cue from you, in the case that either fails. If you have enough time I try to tell the guys on the rail which lineset will be moving, and if it's really complex or needs it I'll remind the carps that deck cue c needs to move at a 3 count and deck cue d needs to move at a 10 count, or whatever the case may be.
"Standby Deck Cue C, here is your red cue light, Deck Cue D, here is your Yellow Cue Light, Rail Cue 3 here is your blue cue light, and rail cue 4 here is your green cue light."
As you call the standbys you flip the lights on, and as you call the go you take the light out, so the crew has the visual cue and the audio cue from you, in the case that either fails. If you have enough time I try to tell the guys on the rail which lineset will be moving, and if it's really complex or needs it I'll remind the carps that deck cue c needs to move at a 3 count and deck cue d needs to move at a 10 count, or whatever the case may be.
87
Stage Management: Plays & Musicals / Re: Tech Questions
« on: May 03, 2008, 05:16 pm »
To throw my own two quirky opera cents into the mix . . .
During tech I'm always backstage, sitting where I will be calling the show as I have to have access to cue lights, and the paging system and at smaller companies am frequently calling entrances myself. I have a god mic, the director has a god mic, and we start at the beginning and work our way through, either one of us can stop if we need to . . ."Hold, Please". When you are ready to resume you pick a rehearsal number or a bar number and away you go, resetting if you needed to. Granted, opera tech works differently . . . you have 2 Piano Techs to figure out Set and Prop issues, Piano Dress to figure out costume issues, Orchestra Tech to figure out musical issues, and Orchestra Dress, which is the is also called the Final or General Dress, which should be as close to an actual performance as possible. That's it . . .no previews. Lighting is done during lighting sessions with stand ins walking the roles.
During tech I'm always backstage, sitting where I will be calling the show as I have to have access to cue lights, and the paging system and at smaller companies am frequently calling entrances myself. I have a god mic, the director has a god mic, and we start at the beginning and work our way through, either one of us can stop if we need to . . ."Hold, Please". When you are ready to resume you pick a rehearsal number or a bar number and away you go, resetting if you needed to. Granted, opera tech works differently . . . you have 2 Piano Techs to figure out Set and Prop issues, Piano Dress to figure out costume issues, Orchestra Tech to figure out musical issues, and Orchestra Dress, which is the is also called the Final or General Dress, which should be as close to an actual performance as possible. That's it . . .no previews. Lighting is done during lighting sessions with stand ins walking the roles.
88
Students and Novice Stage Managers / Re: Good Advice for All
« on: May 02, 2008, 12:15 am »
Well put, and great advice for us all to remember whatever our experience level is. Thank you for sharing!
89
Students and Novice Stage Managers / Re: Plotting Points on a grounplan
« on: Apr 30, 2008, 12:38 pm »
Plotting points simply means measuring the points on the groundplan so you can tape them out on the rehearsal room floor.
You want to make sure you plot out the edge of the stage, the proscenium, everything permanent to the facility, and then start plotting the points for the set. Every wall, every window, every step, every escape step, masking used for the production, everything you see on the groundplan that an actor could touch, run into, step on, look through, etc should be taped onto the floor.
I use downstage center as my zero point, and start plotting (measuring points) downstage left, working my way around the set counterclockwise, labeling each point on the groundplan with a letter, and marking it's coordinates on a separate piece of paper. When it's time to tape out, I use dots labeled with corresponding letters to set the points on the floor and then taping out becomes a big game of connect the dots. It may seem like an extra step, but it actually makes taping go a lot faster if you put a little more effort into plotting.
Some undergrad programs swear by a method of taping out that uses triangulation, which I find to be an utter waste of time as it is not precise (for me).
Hope this helps . . . .and don't be afraid of messing up. Worst case scenario is you have to re-measure a point, or use your best judgment to come up with a point that is close enough.
You want to make sure you plot out the edge of the stage, the proscenium, everything permanent to the facility, and then start plotting the points for the set. Every wall, every window, every step, every escape step, masking used for the production, everything you see on the groundplan that an actor could touch, run into, step on, look through, etc should be taped onto the floor.
I use downstage center as my zero point, and start plotting (measuring points) downstage left, working my way around the set counterclockwise, labeling each point on the groundplan with a letter, and marking it's coordinates on a separate piece of paper. When it's time to tape out, I use dots labeled with corresponding letters to set the points on the floor and then taping out becomes a big game of connect the dots. It may seem like an extra step, but it actually makes taping go a lot faster if you put a little more effort into plotting.
Some undergrad programs swear by a method of taping out that uses triangulation, which I find to be an utter waste of time as it is not precise (for me).
Hope this helps . . . .and don't be afraid of messing up. Worst case scenario is you have to re-measure a point, or use your best judgment to come up with a point that is close enough.
90
Stage Management: Other / Re: Inserted Dialogue in Opera
« on: Apr 30, 2008, 02:18 am »
I would start your timings with the dialogue and music you have now.
Timings are ALWAYS subject to change. Do the best you can with what you have and if you feel the new translation changes the timings by over a reasonable limit then you may have to re-do the timings. But, like sung recits, people can speak or sing slowly or quickly and all that can change from night to night.
Timings are ALWAYS subject to change. Do the best you can with what you have and if you feel the new translation changes the timings by over a reasonable limit then you may have to re-do the timings. But, like sung recits, people can speak or sing slowly or quickly and all that can change from night to night.