811
Stage Management: Plays & Musicals / Question for all the SMs out there
« on: Feb 24, 2006, 04:38 pm »
I am 99.999678% sure there was a topic on this just a few weeks ago, if that. Quite a long topic.
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812
Stage Management: Plays & Musicals / Need Sound Help!!!!
« on: Feb 24, 2006, 08:43 am »
I suggest a read of this page
813
Students and Novice Stage Managers / Calling Rail Cues?
« on: Feb 24, 2006, 01:29 am »
The way I have usually done it, we have the deck master on cans, with a nice, visible cue light.
"Warning Rail cue x" <- Quite a while before the cue. This is only over cans and the deck master will ensure all rail cues are ready to go.
"Stand by Rail cue x" + Q-light SB <- Deck Hands stand by to execute the cue.
"Rail cue y Go" + Q-light go <- the cue is executed.
Occasionally, only a warning is given over cans and cue lights are used from then, but I am a fan of using both as backup.
Same goes for fly's, except you often dont need to give the warning. A well rehearsed fly team will be able to do two lines each at the same time, and they should know the cues well enough that it takes them only moments to get into possition and remove the breaks.
"Warning Rail cue x" <- Quite a while before the cue. This is only over cans and the deck master will ensure all rail cues are ready to go.
"Stand by Rail cue x" + Q-light SB <- Deck Hands stand by to execute the cue.
"Rail cue y Go" + Q-light go <- the cue is executed.
Occasionally, only a warning is given over cans and cue lights are used from then, but I am a fan of using both as backup.
Same goes for fly's, except you often dont need to give the warning. A well rehearsed fly team will be able to do two lines each at the same time, and they should know the cues well enough that it takes them only moments to get into possition and remove the breaks.
814
SMNetwork Archives / on the other end of the headset spectrum
« on: Feb 23, 2006, 12:57 am »
Most theatres are fairly self contained, and will rarely need wi-fi within the space. If they really need access to the network, a cabled connection would be better anyway.
815
Stage Management: Plays & Musicals / respect
« on: Feb 23, 2006, 12:52 am »
By children - what age are you talking about? That will really define how you deal with them. I find that working with people close to your own age (as a young SM), taking the approach of talking to them as equals ("Come on guys, co-operate with me") yet still keeping 'the line' in sight works. ('the line' is that small line between respect and 'come on mate, it was just a prank').
If they are (as I suspect) under 15's, things become a bit more difficult.
The main thing is to be firm.
A little more information on the power structure would help. Now, to be brutaly honest, I suggest that you put your foot down and refuse to take any flack from them. Insulting people is not to be tollerated. Neither is cursing. The actions you take depend on where you rank in the overall scheme of things.
The main thing though, is that you HAVE to get these 'chaperones'/'teachers'/'parents' to support you. I dont know how things are in the US, but over here in Australia, but the type of behaviour you are talking about is not to be tollerated. If you tell off a child, and an 'adult' does not support your decision, you need to pull them aside and be extreamly firm in telling them to NEVER undermine your authority again.
Remeber, you are responsible for the safety of everyone there, which means that if you say jump, they should jump right away and not answer back with a smart allec "how high?". Then there is also the fact that as SM, you are in the unique position that you can hi-jack a production meeting to deal with the issue, and you can bring up the fact that if these adults do not manage the children that you will be orchestrating a crew strike as you believe that the environment is unfit for the crew to work in. The abuse, coupled with the fact that orders which often relate to safety are constantly dissobeyed is a perfectly legitimate reason. Blackmail is not pretty, but it is quite effective.
If they are (as I suspect) under 15's, things become a bit more difficult.
The main thing is to be firm.
A little more information on the power structure would help. Now, to be brutaly honest, I suggest that you put your foot down and refuse to take any flack from them. Insulting people is not to be tollerated. Neither is cursing. The actions you take depend on where you rank in the overall scheme of things.
The main thing though, is that you HAVE to get these 'chaperones'/'teachers'/'parents' to support you. I dont know how things are in the US, but over here in Australia, but the type of behaviour you are talking about is not to be tollerated. If you tell off a child, and an 'adult' does not support your decision, you need to pull them aside and be extreamly firm in telling them to NEVER undermine your authority again.
Remeber, you are responsible for the safety of everyone there, which means that if you say jump, they should jump right away and not answer back with a smart allec "how high?". Then there is also the fact that as SM, you are in the unique position that you can hi-jack a production meeting to deal with the issue, and you can bring up the fact that if these adults do not manage the children that you will be orchestrating a crew strike as you believe that the environment is unfit for the crew to work in. The abuse, coupled with the fact that orders which often relate to safety are constantly dissobeyed is a perfectly legitimate reason. Blackmail is not pretty, but it is quite effective.
816
Stage Management: Plays & Musicals / Gender and Age Issues
« on: Feb 22, 2006, 04:14 am »
I noticed in an above post the issue of where things are said. That is definatly something to take note of. A quite "Can I speak to you for a second over here" works far better than starting it infront of a bunch of spectators. Things go much smoother and it is seen by everyone else to be a much more mature option. In other roles, I have seen SM's berate people infront of the cast, and I instantly cringe and watch as it disolves into a screaming match, which makes the SM seem like a 5 year old. Then I watch as some of the people watching band behind the cast member being berated. Some band with the SM, and some obstein, and things just go down hill.
817
Stage Management: Plays & Musicals / Question for all the SMs out there
« on: Feb 22, 2006, 04:07 am »Quote from: "erin"
I kindly request that all cellphones in the booth be muted. Common courtesy. I don't care that the booth is sound proofed, no one wants to hear the muppets theme song during an intense scene.
Phones OFF. Period. If a relo or someone needs to contact a member of the company, they can usually call the theatre and leave a message - and the FOH manager should be able to contact the SM, and the SM can contact whoever needs to be contacted, or if there is no cans system, FOH can run the message. And one thing I stress - If it is not a life and death problem, call afer the show or during interval.
When on wired cans, mobiles tend to cause ear aches for the ops (pulsing from heartbeat signal from towers). Even without wired cans - phones off. I ask for no more than I ask from the audience or myself - and considering about 20% of my anual work comes from mobile calls made between 7 and 10pm at night, well I often wish I could have had my phone on at shows. But I keep it off. The wonders of message bank.
818
Stage Management: Plays & Musicals / Gender and Age Issues
« on: Feb 21, 2006, 03:05 am »
Well 9/10 SM's I have met are women, and I have never seen an actor fail to respect them.
I am only 19 (male). Fairly young for an SM, I had my first SM job at age 16. Some people did not give me the respect that the position demands - after all, a lot of them were twice my age, that said, after I proved myself to them - ie taking control, yadda yadda - things improved dramatically. Now, I have a bit of a reputation amoungs the places I frequent, I dont really have problems. My first job however I did have one guy who absolutely refused to respect me, but I learnt extreamly quickly that as a last resort, throwing your weight arround (as SM, not literaly) works wonder. The contract I was under at the time was good, in that I did have the ability to issue verbal warnings (Australian dismissal law requires an oral warning, followed by two written warnings before dismissal - the exception being things like theft which are sumary dismissal), and after giving him an official verbal warning, he calmed a bit.
You may not have that luxury. Unless it comes to a certain person continually speaking up against you or flaunting their lack of respect, and no matter how often you talk to them, nothing changes, I would suggest you do not go and see the producer/director/whoever about the actor, as that would impact negativly against you.
I am only 19 (male). Fairly young for an SM, I had my first SM job at age 16. Some people did not give me the respect that the position demands - after all, a lot of them were twice my age, that said, after I proved myself to them - ie taking control, yadda yadda - things improved dramatically. Now, I have a bit of a reputation amoungs the places I frequent, I dont really have problems. My first job however I did have one guy who absolutely refused to respect me, but I learnt extreamly quickly that as a last resort, throwing your weight arround (as SM, not literaly) works wonder. The contract I was under at the time was good, in that I did have the ability to issue verbal warnings (Australian dismissal law requires an oral warning, followed by two written warnings before dismissal - the exception being things like theft which are sumary dismissal), and after giving him an official verbal warning, he calmed a bit.
You may not have that luxury. Unless it comes to a certain person continually speaking up against you or flaunting their lack of respect, and no matter how often you talk to them, nothing changes, I would suggest you do not go and see the producer/director/whoever about the actor, as that would impact negativly against you.
819
SMNetwork Archives / Spike Tape Problems
« on: Feb 20, 2006, 10:21 pm »
I agree - find a better grade of spike tape. Or, use carpet tacks and a tacking hammer.
820
Stage Management: Plays & Musicals / dealing with theatre romance
« on: Feb 19, 2006, 03:24 am »
First of all - pro or amdram?
If Amdram:
Pull the crew members asside, separatly. Tell them that whilst you appreciate that they are not getting paid to be here, they are detracting from the show, and it is totally unacceptable. If you have a ready supply of people able to step up and take over their job, be frank and say "Look, if you can't stay focused on the job, I will be forced to find a replacement. Everyone else here is giving up their time to be here and make this show happen, giving a hundred and ten percent. And if you are not willing to do the same, and keep your private life out of the show, it is unfair to everyone else, and I can easily find someone to replace you. I hate doing this, yadda yadda yadda" (read: Lay on the guilt as thickly as you can).
If Professional, things become a lot simpler:
"Can I speak with you for a moment, x and y? I have noticed that your attention is not completely on the show. Whilst I appreciate the fact that you two are involved in a budding relationship, this is not the time or place to explore it. If you continue to ignore your responsibility to the show, I will have no excuse but to give the both of you written warning and to take this up with management. I dont like being a spoil sport, but you are being paid to be here, and whilst you are here and under my supervision, I expect your complete attention to be on the job at hand. I do not like being put into this position, but I have a responsibility to the show and the rest of the cast, crew and creative team to ensure that what the audience sees is the best it can be. So if you could keep your relationship to outside the show, I would be extreamly greatful."
If Amdram:
Pull the crew members asside, separatly. Tell them that whilst you appreciate that they are not getting paid to be here, they are detracting from the show, and it is totally unacceptable. If you have a ready supply of people able to step up and take over their job, be frank and say "Look, if you can't stay focused on the job, I will be forced to find a replacement. Everyone else here is giving up their time to be here and make this show happen, giving a hundred and ten percent. And if you are not willing to do the same, and keep your private life out of the show, it is unfair to everyone else, and I can easily find someone to replace you. I hate doing this, yadda yadda yadda" (read: Lay on the guilt as thickly as you can).
If Professional, things become a lot simpler:
"Can I speak with you for a moment, x and y? I have noticed that your attention is not completely on the show. Whilst I appreciate the fact that you two are involved in a budding relationship, this is not the time or place to explore it. If you continue to ignore your responsibility to the show, I will have no excuse but to give the both of you written warning and to take this up with management. I dont like being a spoil sport, but you are being paid to be here, and whilst you are here and under my supervision, I expect your complete attention to be on the job at hand. I do not like being put into this position, but I have a responsibility to the show and the rest of the cast, crew and creative team to ensure that what the audience sees is the best it can be. So if you could keep your relationship to outside the show, I would be extreamly greatful."
821
SMNetwork Archives / on the other end of the headset spectrum
« on: Feb 16, 2006, 05:19 am »
If you are a smallish theatre - chicken wire. You turn your building/rooms into a fahraday cage - basically, mesh all arround the room - even on the doors. Then when you close the doors you are issolated from those rogue signals. It has the added advantage that mobiles phones will all have no signal within the space...
Or if you are on wireless - change frequencies.
Or if you are on wireless - change frequencies.
822
Students and Novice Stage Managers / Re: list years or not...
« on: Feb 12, 2006, 07:56 pm »Quote from: "scoot"
The other thing to go along with that is BE HONEST about your job title. I've had several young stage managers list themselves as ASM when they were PAs or PAs when they were interns. It'll catch up with you in the end!
SHHhhh Dont mention that - As someone who has sat in the interviewers chair quite a few times, both interviewing techs and SM's, catching people out is one of my major enjoyments.
I usually check up on a few leads before even making the call inviting for an interview. And I make notes. My favorite lies that I see are when people say they were on shows I did. In fact I did an interview 4 months ago where one applicant said they LD'ed the exact same show as I was LD. It was a very enjoyable interview, we talked about how it was "One of his better works" and how complex the play was to light. Then as he left, I casually mentioned that next time he was going to lie about a show, he should check that he is not claiming to do the job of the interviewer. It still makes me laugh...
Honesty is the best policy. Because if there is a single lie in there, and that lie is caught. Then your chances of a job are shot. And if the interviewer is anything like me, they keep notes on everyone they have interviewed and worked with. Including contact details. And if you lie, said interviewer will ensure that if it is within their power, or they are ever asked about you, they will make sure you are not employed. I could just be an a$$hole though... Tis a cut throat world out there.
823
Tools of the Trade / What goes inside a SM Kit?
« on: Feb 11, 2006, 05:23 pm »Quote from: "isha"
but as for a kit...I would say the most important thing (for highschool) is colored bandaids....you wouldn't believe how many of my actors cut themselves on things that shouldn't be able to cut them, and then they "can't function"...but whip out a bright pink bandaid and they stop complaining(especially if it's bright pink...) and the world is able to go back to normal...
LOL... Over here I always and out bright flourescent blue bandaids - for one reason alone. Bandaids have a tendancy to fall off. And a lot of places I have worked have been extreamly up-tight about this, hence blue bandaids so that they are quickly seen and quickly removed. And since you never know where you will be working.... I fork out the extra $2 to go flourescent blue.
Quote
I also use a lot of masking tape
NOOOoooooo...... Masking tape is EVIL! Especially the cheap kind. So many people use it for marking up cases and desks etc. WHITE ELECTRICAL TAPE + PERM. MARKER. Others use it for marking sets - SPIKE TAPE PEOPLE. I can see no other use for masking tape - except for set painting (when you need to mask whilst painting... and then you are better off using the expensive stuff.
824
Students and Novice Stage Managers / Need help with writting SM resume
« on: Feb 10, 2006, 09:07 pm »
It can work against you, or for you. If I was a company SM, sure, I would list my term there (in years), however as I list only the shows that I think are big acomplishments on my resume, I dont date them. That I also do other departments, whilst an overall plus, means that in a resume dedicated to stage management, there are periods where I have only done lx and sound (quite a few really) which could be seen as negative.
825
Tools of the Trade / What goes inside a SM Kit?
« on: Feb 10, 2006, 03:16 am »
Why? A kit is a very personal 'thing'. It shows your experiances, your nature etc etc etc. I know it sounds weird, but it is the truth.
You know all those cruddy B-Grade martial arts movies and books where they have a really simple quest to complete before they can become masters - building your SM kit is one such task.
Whilst we can recomend items till the cows come home, will you know what you can use it for? If I said gaffer tape, you would think of all the typical uses for gaffer tape, like cable management, but it can do so much more.
Now, a lot of SM's have other training or experiance before they need their own kit - and their kit reflects this training. In no SM course I have seen do they tell you the contents of a kit, instead they tend to encourage that you think about a possible scenario, and what items you would need in your kit to combat it.
One thing I HATE about SM books etc is that often they go on and on about the kit. So much that every wannabe SM and his dog wants to make one, just to say they have a kit. A box of goodies is not a kit. A KIT is built through time and experiance and thought. It is an extension of the being that allows rapid problem solving when used properly. A box of stuff is useless.
An SM kit is not too difficult.
When I constructed my kit, I broke it down to some basic groups.
Stationary/General Sundries. Costume/Cloth. Tools. Electical. Health and well being. etc etc etc
Then I wrote down a list of objects that may be needed to do 'patch up' jobs.
Now young grasshopper, go out and create a kit.
That said, carissa dollar had a good list, but her site seems to have dissapeared
You know all those cruddy B-Grade martial arts movies and books where they have a really simple quest to complete before they can become masters - building your SM kit is one such task.
Whilst we can recomend items till the cows come home, will you know what you can use it for? If I said gaffer tape, you would think of all the typical uses for gaffer tape, like cable management, but it can do so much more.
Now, a lot of SM's have other training or experiance before they need their own kit - and their kit reflects this training. In no SM course I have seen do they tell you the contents of a kit, instead they tend to encourage that you think about a possible scenario, and what items you would need in your kit to combat it.
One thing I HATE about SM books etc is that often they go on and on about the kit. So much that every wannabe SM and his dog wants to make one, just to say they have a kit. A box of goodies is not a kit. A KIT is built through time and experiance and thought. It is an extension of the being that allows rapid problem solving when used properly. A box of stuff is useless.
An SM kit is not too difficult.
When I constructed my kit, I broke it down to some basic groups.
Stationary/General Sundries. Costume/Cloth. Tools. Electical. Health and well being. etc etc etc
Then I wrote down a list of objects that may be needed to do 'patch up' jobs.
Now young grasshopper, go out and create a kit.
That said, carissa dollar had a good list, but her site seems to have dissapeared