841
The Hardline / Re: On the Clock
« on: Apr 20, 2012, 05:29 pm »
I have never worked TYA - but I can say, I have never head of that rule again - and that sucks - one act is 60 minutes late, and everyone has to wait . . .
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842
The Green Room / SM: WORST THINGS
« on: Apr 17, 2012, 09:41 pm »
From another website, a picture essay of the worst things . . .
but this one took the cake.
rest of the list http://www.buzzfeed.com/daves4/the-absolute-worst-things-in-the-world
but this one took the cake.
rest of the list http://www.buzzfeed.com/daves4/the-absolute-worst-things-in-the-world
843
Tools of the Trade / Re: Prop: Drugs on stage
« on: Apr 12, 2012, 02:51 pm »
I always worry about having actors smoking on stage ... I started a 15 year habit smoking for a role onstage.
844
Students and Novice Stage Managers / Re: Short Form ans Symbols
« on: Apr 08, 2012, 12:35 pm »
after i typed that I took some blocking off the TV in the hotel I am In . . . I don't usually take blocking so all of this is not something I am in strong practice for.
But I use a lot of arrows (cross behind, cross to, climb over)
But I use a lot of arrows (cross behind, cross to, climb over)
845
Tools of the Trade / Re: Running sound cues in rehearsal
« on: Apr 08, 2012, 01:10 am »
But, I think the difference is we are putting together the show cue, we are doing an edit so we can rehearse. And you, the director, the cast and the sound team need to work out the rules and level of comfort.
I think this is the same as pulling some rehearsal props. Pull a rehearsal costumes, or going to the wall and flashing lights on and off for lightning. And I have had my rehearsal props end up on stage (the scenic designers goes - OH THAT'S GREAT, I had my "projections" use in a show, I had my rehearsal costume end up on stage . . . it happens.)
I think everyone understands that my bad loop job, or jagged cut is to just get through that day's rehearsal . . . and something better will come along.
But, if you don't feel comfortable with it - then don't do it.
I think this is the same as pulling some rehearsal props. Pull a rehearsal costumes, or going to the wall and flashing lights on and off for lightning. And I have had my rehearsal props end up on stage (the scenic designers goes - OH THAT'S GREAT, I had my "projections" use in a show, I had my rehearsal costume end up on stage . . . it happens.)
I think everyone understands that my bad loop job, or jagged cut is to just get through that day's rehearsal . . . and something better will come along.
But, if you don't feel comfortable with it - then don't do it.
846
Students and Novice Stage Managers / Re: Short Form ans Symbols
« on: Apr 08, 2012, 01:05 am »
I use "W/" for with a LOT
I use "-" for to
F X- SL w/G
Fred X to SL with Greg
(As opposed to X SL - which reads to me as cross stage left
p/u = pick up
I use the delta symbol as well - but I use it to mark in the script a good place to "take it back to".
K with an arrow pointing down = Kneel
I use "-" for to
F X- SL w/G
Fred X to SL with Greg
(As opposed to X SL - which reads to me as cross stage left
p/u = pick up
I use the delta symbol as well - but I use it to mark in the script a good place to "take it back to".
K with an arrow pointing down = Kneel
847
Tools of the Trade / Re: Running sound cues in rehearsal
« on: Apr 06, 2012, 12:34 am »
I assume that you were a team of one?
In reality, there are productions where having the video and sound being in the rehearsal - and I don't think we can just OPT out, but I think if you really have trouble doing all you need in the rehearsal hall, then you need more help - and that's between you and your bosses.
I mean you can argue, "Oh, since I have to take blocking, I can't track props" - it seems like the would be the same argument as not able to run sound cues.
We would alter a rehearsal prop for rehearsal? We wouldn't wait the scenic designer to make the alteration, right?
I don't mind a member of the stage management team doing basic alternations, but you need to work out the ground rules - and work it out with production management how to handle it.
Yes, we are going to find there are more and more technically elements being added into rehearsal. On my last show, in the rehearsal hall, we had 7 wireless mics, 12 stand mics, amps, several musical instruments, a tele-q, a reel-to-reel to be operated, a sound board . . . we started "teching" the show on the VERY first day in the hall - it's different, it's new, and I feel like it's the way we are moving - all this technology makes us very impatient.
Ultimately you have to make up your mind what your style is and how much of this you want to do.
We all have our comfort zones.
In reality, there are productions where having the video and sound being in the rehearsal - and I don't think we can just OPT out, but I think if you really have trouble doing all you need in the rehearsal hall, then you need more help - and that's between you and your bosses.
I mean you can argue, "Oh, since I have to take blocking, I can't track props" - it seems like the would be the same argument as not able to run sound cues.
We would alter a rehearsal prop for rehearsal? We wouldn't wait the scenic designer to make the alteration, right?
I don't mind a member of the stage management team doing basic alternations, but you need to work out the ground rules - and work it out with production management how to handle it.
Yes, we are going to find there are more and more technically elements being added into rehearsal. On my last show, in the rehearsal hall, we had 7 wireless mics, 12 stand mics, amps, several musical instruments, a tele-q, a reel-to-reel to be operated, a sound board . . . we started "teching" the show on the VERY first day in the hall - it's different, it's new, and I feel like it's the way we are moving - all this technology makes us very impatient.
Ultimately you have to make up your mind what your style is and how much of this you want to do.
We all have our comfort zones.
848
Employment / Re: Career Goals
« on: Apr 01, 2012, 10:41 pm »
I think the issue with long terms goals in this field, is we tend to do outward goals, where we actually have no control over "I want to be a SM on a national tour", "I want to work XXX theater", and the ever popular "I want to be a Broadway Stage Manager" - and all of these might be great career goals, but you have almost no control of some of these situations . . . a stage manager can go they entire life WANTING to be a stage manager on Broadway, and never achieve it - or just achieve for a small percentage of their career.
I strongly want people to have goals, to keep forward momentum, even career dreams . . . but I think it's always nice to balance things you have control over ("Learn Vectorworks") with things you might not have control over ("Make 75,000 a year").
I strongly want people to have goals, to keep forward momentum, even career dreams . . . but I think it's always nice to balance things you have control over ("Learn Vectorworks") with things you might not have control over ("Make 75,000 a year").
849
Students and Novice Stage Managers / Re: How to deal with a very unpleasant pit orchestra?
« on: Mar 31, 2012, 10:21 pm »
Be prepared for ANY negative comment for people to assume it is due to work.
I related I was having a bad day (I was sick as a dog), first comment was "Rough rehearsal?".
Be careful out there online.
I related I was having a bad day (I was sick as a dog), first comment was "Rough rehearsal?".
Be careful out there online.
850
Tools of the Trade / Re: Clipboard that holds your iPad?
« on: Mar 31, 2012, 08:40 pm »
It's also odd it says it holds the iPad 1 . . . are the other ipads okay?
853
Students and Novice Stage Managers / Re: Dealing with rude emails
« on: Mar 28, 2012, 09:48 am »The costume coordinator, if they are a prof, should not expect you to treat them as a professor on the show, they should expect you to treat them as a costume coordinator, and anything else will just hinder your growth as a stage manager
I am unsure what side you are coming down on this issue. In the high end, non-profit world, if I had let that happen, I would have gotten expected to get chewed out by the costume designer, the production manager and eventually general management.
But, as a stage manager, let's look at it from the bigger picture - and she is a professor - so she is not just dealing with the show (or shows) like a professional designer would in the world, she is dealing with course loads, advising, meetings, etc, etc . . . to waste her time is a BIG deal, especially with a failure to communicate. So, she should be treated as a costume coordinator with a very BUSY schedule - and I find nothing n the original post asking her to be treated as something else.
AND I don't think this is hindering anyone's growth as a stage manager - I think know the original poster will be more careful with email communication and learn to follow up with phone calls as needed with their a last minute or late schedule change. AND, realize that, in the end, being passive about something like this - like slipping a schedule change into rehearsal report, may not be as proactive and agressive in stage management as they want to be.
I don't think, in this case, it would be ideal to just put in the report, we are moving photo call - although it should have been in the report. The key players could have been notified separately about the cancelation, and then the conversation could have been started about WHEN photos could be rescheduled. What if the night in question was the ONLY night photos could have been taken (with professional designer's schedules . . . they are sometimes only one night.)
The other thing we DON'T know is this might have been a perfect storm of incidents, which required the tone of response. The reason to flag it to multiple people (especially the department head) is to make sure the line of communication is open. (In most cases, a professor is wise in dealing with such emails to email the department head so it doesn't turn into a he said/she said situation later.)
I think the issue of "wasting time" and "break down of communication" is being taken a little to lightly, this is a HUGE and costly situation. If my PR department hired a photographer to come in and shoot photos, and I forgot to tell them about the time change, then we just wasted three peoples night, a fee for the photographer, and perhaps missing a press deadline. We are also not aware of if this is the first such incident and the professor flew off the handle, or the end of several incidents.
I would be interested to see how the original poster had this all resolved and how it played out.
855
The Green Room / Re: A Sticky Wicket
« on: Mar 22, 2012, 04:47 pm »
Adults on the road should be allowed to have sex.
I wonder how much of the original issue was the performer's sexuality.
And a good reason why performer housing should not be "put up".
I wonder how much of the original issue was the performer's sexuality.
And a good reason why performer housing should not be "put up".