Messages

826

Tools of the Trade / What goes inside a SM Kit?

« on: Feb 10, 2006, 02:34 am »

*POINTS AT SEARCH BUTTON* - There are a number of threads on them. However I could run a small office for 6 months based on the contents of my kit (stationary alone) as well as running a small field hospital, and fix the clothes of a small nation. I think my kit is a bit unique because I am not SOLELY an SM, but I have long surpassed the stage where a bag can contain it all.

827

Students and Novice Stage Managers / What to do...

« on: Feb 07, 2006, 02:44 pm »

School based theatres are a strange dynamic to work within, namely because the theatre is not the sole social aspect of the place, but also because the power structure is completely (excuse the language) fu#ked up the wall.

My opinon is rather strong about one thing - and that is the DIRECTOR should never EVER be in charge of crew and stage management. The role of director is STRICTLY creative.

However, my opinion on small theatre creative structures asside - do you have anyone above the director. I am certain you will. Either a 'Production Manager', or even the 'companies' (in the loose sense of the word) Artistic Director. Basically, who 'employs' the director. Because whoever that is, also employs the SM.

If the SM is a problem it does need to be rectified. HOWEVER approaching the head honcho can have drastic side effects, especially within the dynamic of a school. Personally, I think you first need to pull the SM asside and say "Look, pull your head in mate. I know your new at this, but you dont even seem to be trying". One of two things will happen. Your relationship with the SM will improve, or deteriorate. If it improves, the work should improve. If it deteriorates and the work does not improve, THEN you need to go and see someone. BE CAREFUL about it though. I suggest you have some evidence before you accuse, because the onus of proof, just like in the legal system, is on you. Written logs, disgruntled crew, whatever.

You have to appear concerned about the show, and not appear to be a whining brat who wants to be SM. I did a 3 month stint as an "Artistic Director"/head honcho person in a college theatre (actually, university). I had 2 shows during that time and I did have complaints about an SM. I found the SM was incompetent and did replace him, but I also did not like the ASM's manner in approaching it (I felt the basis for complaint was that the ASM wanted the SM position), and in the end I got someone else to fill the SM spot who I know is a great SM, and I still got complaints from this ASM, which in a way prooved my decision of not just promoting the ASM to SM, and I learnt that some ASM's dont LIKE being ASM's and will bitch for no reason. And that was in a 3 month stint. If I had been doing it for a whole year, I think I would almost loose all faith in any reports ASM's give me. Now the level of bad blood that was involved in my decision would be catastrophic within many 'school' dynamics, however in a uni of 50,000 it made little difference.

So are you really, truely ready to place your reputation both within the school and theatre on a complaint, because even if it goes well, your reputation can get shot. Sometimes it is easier to grin and bear it, and let the SM be a 'puppet' SM - ie everyone KNOWS your really the SM, everyone GOES to you with your problems, but he/she/it has their name in the program as "SM".

That said, I have never been an ASM. I never WANT to be an ASM and hopefully I will never be an ASM. I hold many ASM's in the highest regards, and dont mind teaching them the ropes of being a good SM/ASM whatever and I believe they are an essential part of theatre... but I do not like the idea of after SM'ing for so long, being placed directly under an SM and having to watch them do things a different way to me, so my advice is all hypothetical or from an upper managerial POV.

828

SMNetwork Archives / on the other end of the headset spectrum

« on: Feb 07, 2006, 01:37 am »

I find the biggest problems are phones/pda's with bluetooth really. A theatre I regularly work in has wireless coms (unbranded, quite good quality, frequency is adjustable). Every night of a certain show we were getting short bursts of really annoying hiss. This theatre is great because the entire building has been turned into a farahdays cage so we knew that the interferance was from within the venue. After much tracking down, we found that it was the playwrites mother, who had her PDA and mobile in her bag both of which were bluetooth enabled and she always sat front row prompt side. Those who do not know - bluetooth hops frequencies like nobodies business, and whilst it is low power, with minimal rage (10m IIRC) it is just enough to be an annoyance.

I am still a fan of wires though. Good quality cables and a bit of practice and you dont notice them. I have SM'ed a 2 month run with 30m of cable on my cans and been running from one side of the stage to the other, dealing with props etc due to lack of an ASM and not had a problem. All I needed to do was remember the cord.

829

SMNetwork Archives / technology

« on: Jan 30, 2006, 12:06 am »

I have built, and used a computerised touch screen cue system. Provided you use a decent touch screen, they are great. The thing is the screen needs to be mounted in the correct position. What I did, and it worked well, was also made a hardware interface as well. It had certain advantages. Because the place I designed and built it for did not do conventional shows and a lot were based on timing, we decided it was the best way to go. The interface basically had 2 buttons. Cue Standby, and Cue Go along with a keypad to advance cues etc. Each cue contained a list which lights needed lighting and a delay number for staggering cues. The hardware interface was just straigh toggle switches.

I have also seen one systems that were basically analagous to a cue light system. That defeats the entire purpose of a digital system.

A properly designed digital system, where there is a need for one, can be a life saver. Things like placing control of other systems within the prompt desk can make life so much easier - they are not there to clutter things up, but in an emergency you can bring them up. For example when I have speced venues, we have always put a simple control in for the lights Sure, lighting control may be hidden away (under the program I wrote, System>Lighting>On Stage System) but when it is needed, it is there).

I suppose the question is, when they do it, will they do it properly.

830

Stage Management: Plays & Musicals / help with show

« on: Jan 29, 2006, 04:02 am »

A year ago I was working on a new aussie show which dealt with suicide, and unfortunatly, my auntie attempted suicide during the run and I was the one who found her. I could barely stomach the show after that happened. I approached the PM and explained everything, including that I felt I may not be able to do a good job due to the fact. Unfortunatly, I had to train up an SM over three nights, but it was 100 times better than doing the next 3 months.

Provided your PM is not a hearless monster, if you explain it, they will usually accomidate you. After all, they want the best for the show too.

If it was just one act in a show with more than one act, suggest that maybe you could get the sound or LX op to call it during the period you cannot cope with, and leave the space for some air.

You don't have to be some emotionless, clinical, uber efficent god, even if many of us try to appear so to the cast and crew. Most people will be really good about it. Occasionally (especially when working with children) they will broach the subject callously and without regards for your feelings, but they are the minority.

831

Stage Management: Plays & Musicals / Question for all the SMs out there

« on: Jan 29, 2006, 03:55 am »

Simple:

Me: Stand by LX 3.
(NOTHING)
Me: Stand by LX 3, confirm.
LX: Standing by.
Me: LX3 go.

Me: Stand by LX4
(NOTHING)
Me: Stand by LX4, confirm
LX: Standing by.
Me: LX4 go.

Me: Stand by LX5
LX: Standing by
Me: LX5 go.

I tested it today. My board op came up to me afterwards and asked me not to request confirmation for standbys. This was a board op I had asked numerous times to give me a confirmation before. I explained my reasons, and basically presented the exact same argument I had used before, and basically stated that under another SM, they can sort it out, but whilst I am running a show, I like to make sure my ops are on the same page. He told me he would do it, I thanked him, and the matter appears to be solved.

832

Stage Management: Plays & Musicals / Question for all the SMs out there

« on: Jan 28, 2006, 02:56 pm »

Far too often I am the only managerial person with the exception of the producer who only cares about the money. Even profesional shows. I have worked out a new tactic though. I am going to start bugging them about it before each cue.

833

Stage Management: Plays & Musicals / Re: verbal responses

« on: Jan 27, 2006, 10:23 pm »

I find the opposite. I have asked (repeatedly) a number of ops. They basically blow me off. The ocasional one will respond with a 'standing by' after asking them. I think I need to start training myself some board ops from scratch. Then send them out into the world. Never taken on an intern in a field other than stage management.

834

Stage Management: Plays & Musicals / Question for all the SMs out there

« on: Jan 26, 2006, 07:02 pm »

It is a worrying trend I have noticed in AU - a lot of ops do not respond to standbys. It REALLY irks me. As I have said many a time before, I dont just SM, I am capable in almost any position within the theatre (about the only pos I have not been in is Producer) and I know both sides of the cans. There are certain things I always do which I notice does not happen in many places:

Confirm s/b's
Confirm completion of long que sequences.
Perform "Off Cans" and "On Cans" messages

There was a show I was on as SM, where the lighting op was replaced by a cast member for 15 minutes or so so that he could run to the dome position and spot a sequence. We timed it, and for him to make it in time, the actor had to run to the bio box, they had to change right away, and he had to crawl as fast as he could to FOH1 dome position. We worked it out so that I could cue them visually, but twice, a cue was missed because I did not get a "LX Off cans for 10, going to visual" as I would have expected because he was not in the habbit of performing off cans notices. They were damn important cues too. In the end I think we grabbed the dome cans and gave them to the actor, who placed them on as they ran to the bio box, quick lead change and then he jacked himself in at the dome position.

This LX op played tetris if you were wondering, and the sound op read cookbooks.

835

Stage Management: Plays & Musicals / Looking for a Loan Acknowledgment Form Template

« on: Jan 25, 2006, 10:33 am »

Mocked mine up in word. It is only a really basic one: Here ya go

836

Stage Management: Plays & Musicals / Looking for a Loan Acknowledgment Form Template

« on: Jan 25, 2006, 05:44 am »

Just thought I would clear up what I wrote a bit. As I mentioned, it is printed in triplicate, the top is pickup receipt, the second is return receipt and the bottom is my copy.

When I printed it on pc (before I got them pro done), I used to take the top two copies, and score a line on both sides 1cm from the top (easy tear) then I made a booklet with carbon paper sandwiched in the middle and stapled along the top. Then I used gaffa tape to secure it. You can (iirc) get laser triplicate paper which would be damn useful

The cols headed Pickup/return Lender/Owner are for initialing when pulled out of the store and returned.

837

Stage Management: Plays & Musicals / Looking for a Loan Acknowledgment Form Template

« on: Jan 25, 2006, 01:35 am »

I have one (when I find it again) Basic outline is (from top to bottom):

Both parties information.

Table with 6 Cols: Item, Condition, Pick-up Lender, Pick-up Owner, Return Lender, Return Owner

Notes

Picked up (signatures of Lender, Owner. Date)

Returned (signatures of Lender, Owner. Date)

All thing done in triplicate.

Mine is printed up at the printers and bound, so I cannot show you a copy.

838

Stage Management: Plays & Musicals / Question for all the SMs out there

« on: Jan 25, 2006, 01:24 am »

How busy are they?

Are you calling?

Provided they are ready to push the button on the go, you are fine.

I have board oped a number of shows. As board op, I often bring a magazine, or even do prep work for another gig.

Accept it. Opping is one of the most boring jobs in some shows.

839

Tools of the Trade / Kit Container

« on: Jan 18, 2006, 06:15 pm »

Me, I use the mother of all roadcases. It's lid (which is actally on the front) comes off and clips onto the side, with fold down legs to become a table, whilst my kit is in draws within the case. It is a very expensive kit. I am also looking into getting a scrapbooking 'tote' on wheels, but they are damn expensive.

Since I have soo much room, I have everything but the kitchen sink in my roadcase, and it would be hell on earth to dissassemble. I do however tailor it to a certain extent, or rather, cause it to evolve.

Dislikes about it - I need to use a van to move it. And it is encumbersom if we go between many rehearsal rooms or it cannot be left there. That is why I am considering making a second. The main advantage of mine is I set it up as a desk during bump in with plans and schedules on it and have tools and tape in the top draw. It is more of a portable workstation than a kit though.

If I was to set up a kit (as I am planning on doing) I would buy something like This

840

Employment / Under what circumstance is it right to...?

« on: Jan 18, 2006, 01:51 am »

I have never asm'ed,  but I have replaced asm's who have quit with 2 days notice quite easily. A couple of them cancelled on me with no good reason, and I can tell you know that no theatre I have worked with will employ them. A couple have had really good reasons and I have not held it against them. The one show I pm'ed, my SM cancelled because she got a better paying job (about $50 per week) and I was forced to work my ass off because she called me night of the auditions to cancel and could not find a replacement. She recently applied to be an ASM under me, and her application is now lining the bird cage.