Messages

76

Stage Management: Plays & Musicals / Re: YAle Short Hand

« on: Mar 26, 2007, 12:18 am »

Does anyone else do blocking keys regularly?

I usually take one of my minis and label it with the abbreviations I will use for the set (I typically number/letter entrances, door, wagons, whatever) and then fill in the rest with my typical symbols and abbreviations.

In my calling book I use letters as well as colors so my call book shouldn't need a key.

(I love H-BAB...  I have always referred to it as "The Bus Theory" with my students")

77

Stage Management: Plays & Musicals / Re: Calling Spot Light Cues

« on: Nov 13, 2006, 01:17 am »

I worked at an opera house once where the ALD called all of the spot cues.

78

Employment / Listing upcoming gigs on resume

« on: Aug 08, 2006, 11:01 pm »

I do... I list shows that I have been hired for with a little note stating that they are upcoming.

79

Stage Management: Plays & Musicals / Re: Paperwork

« on: May 14, 2006, 01:54 pm »

at least on classical shows where details depend on the concept more then the script (compare a prop list from a Shakespeare play on opening night versus the props mentioned in the script - they often have nothing in common

I also find this to be true in large musicals as well

80

Employment / how long do you wait for a response?

« on: May 13, 2006, 03:58 pm »

I agree... you really cant wait for a response.  

If there was an interview and you havent heard there is nothing wrong with sending an email asking if any decisions have been made.  Most people in this business will understand that you need to know because there might be another job pending.  And its okay to tell them that you need to know because you have an offer on the table.

81

Stage Management: Plays & Musicals / Hospitality backstage

« on: May 13, 2006, 03:52 pm »

That said, I have heard from a few vocal coaches that tea/coffee/milk/juice/softdrink/alcohol is bad for your voice if you need to sing or project your voice (ie act)

Water is always the first choice but most of the conductors I have worked with (musical theatre and Opera) have encouraged Tea and sometimes coffee for singers.

82

Stage Management: Plays & Musicals / the WHO-WHAT-WHERE

« on: May 13, 2006, 02:42 pm »

I love the WWW!!

I learned the value of a WWW while I was at Washington National Opera.  I took the basic format of mine from what I learned there.  My WWW only has actor NT/xt info. along with props the enter with and costume notes.

What I have found is that a WWW IS alot of work and, for me at least, is not always worth all the work.  If its a show with alot of costume changes or with a large cast than it is.  I start every process with a WWW prepared and ready to fill in.  Since I mostly do straight plays and musicals rather than opera only about 1 in 3 WWW's proves itself useful for me.

I am interested in seeing an example of your WWW with all of the scene shifts and blocking incorperated.  Would you be willing to email one to me?

83

Stage Management: Plays & Musicals / a musical

« on: Mar 24, 2006, 04:59 pm »

When I did Aida in DC we had 150 cast members (principals, coro, supers & dancers) 75-ish in the Orchestra and I dont know how many crew.  It was crazy and I loved it.

I do mostly musicals and I'm at the point where they are easier for me than regualr plays.  The "musical approach" has just become second nature to me now.  I find Shakespeare/Classical to be about the same.

I usually only have 1 ASM (except for opera and summer stock) and it works fine.

LOVE MUSICALS... HAVE FUN

84

Stage Management: Plays & Musicals / What do you want to tell Actors???

« on: Mar 21, 2006, 11:22 pm »

How about...  I am on your side!  I am not out to get you!  If it seems like I am, bring it to my attention!!!

85

Stage Management: Plays & Musicals / PEOPLE: What do you want to tell Actors???

« on: Mar 17, 2006, 10:03 pm »

At the DC area SM discussion an actress asked the panel what they would love to tell actors.  I thought that was a great question and have been meaning to bring it here.

I have many but my #1 is

"If you need the line, say line.  If I'm deep in my book I dont know when the pauses are new acting bits or 'Oh shit what's my line' pauses.  And dont just look to the table.  If I am following closely I'm not looking at you and dont see you look at me!  Despite all of this periodically I will feed a line during a pause or catch the actor looking at me... but this is a general Actor to SM friendly request  "

What can you guys add??

86

Stage Management: Plays & Musicals / what should i do?

« on: Feb 19, 2006, 03:23 pm »

a lot also depends on how long the understudies have been hired and how much rehearsal they have seen.

If they have been around the show for a while you might be able to see what they know.  I have had shows, musicals even, where the US were able to run the show at the first US rehearsal.  I have also had US who had to be spoon fed all of the blocking.

If its a musical you have to take into consideration the choreography, music work and any fight choreography.

87

Students and Novice Stage Managers / Need help with writting SM resume

« on: Jan 22, 2006, 06:51 pm »

As would I!!!  

88

The Green Room / SMs in media?

« on: Jan 02, 2006, 12:43 am »

So I know I'm behind but I just saw Team America and there is a SM puppet after the scene from the Broadway musical "LEASE"

Verry Funny!!

I always considered Scooter to be the Muppets SM and then in the later Muppet productions it would be Clifford.

89

Stage Management: Plays & Musicals / Backstage or In the Booth?

« on: Dec 20, 2005, 02:39 pm »

I always prefer being backstage.  Especially for musicals.

90

Students and Novice Stage Managers / Bye Bye Birdie Script!!!!!!!!!!! HELP!

« on: Dec 14, 2005, 11:34 pm »

Have you explored scanning it into word and then just proofing it?
that is what I tend to do.

I am a big fan of making a script/score that has everything to call the show from.  I dont use a score to take blocking notes unless its an opera becuase I find it makes the blocking script too thick.

But regardless make sure that your script/score combo is notated with the page numbers of the copy that the cast is using.  Otherwise it makes it really difficult.