Messages

841

Stage Management: Plays & Musicals / Re: RUNNING: Maintaining the Show

« on: Jun 23, 2011, 12:02 am »

I am not a huge fan of posting run times . . . the issue is, that sometimes the run time is NOT the best measure of a show . . . the show could have been three minutes longer, but it could have been because of laughter, applause, etc . . . it could have been the same time as last night, but still felt rushed.  Yes, the run time is a tool, but be careful about relying too much on it.

Well, this is true. I find that it's more indicative for some shows than others. There are the shows that vary 5 minutes from show to show, with laughter and applause, or just how the show plays, and there are plays that even a minute longer or shorter can be an indication that something was very different. It's a good point- a tool to be used but not leaned on too heavily.

Definitely second the idea of noting the director's exact words from rehearsal- I find that a huge part of talking with actors about artistic aspects of the show has to do with using the right language.

842

Stage Management: Plays & Musicals / RUNNING: Maintaining the Show

« on: Jun 20, 2011, 12:59 pm »

To me, one of the most difficult parts of stage management has been learning to maintain the show after it's open. It takes a lot of sensitivity, connection to and knowledge of the production, and people skills to nudge the various elements of a show so that the original intention is maintained throughout the run (and I don't even work on particularly long runs!)

(as just came up on another thread) I like to do a check-in post-show with the actors. They can tell me how the show went for them, so that I can make any calling adjustments that I need to (actors are not the only ones who need to maintain their performance!) and give any notes. If there is a particularly sensitive note, I pull that actor aside separately.

I like to post the previous show's runtime on the callboard with the sign in sheet sothat the actors can see how the pace of the show was. If a show is 5 minutes longer than the day before (or even 1-2 minutes), it can help the actors get back on track. For some shows, it helps me to note the length of each scene in my script- that way I can tell where we added/lost time.

I don't generally send a separate report out to actors, but I do sometimes tack a note onto the daily call when I send it out. (usually more administrative business rather than performance notes).

What are your best methods for maintaining the show?

843

The Green Room / Re: TEAM BUILDING - Part One - The Assistant

« on: Jun 19, 2011, 06:02 pm »

Someone I can trust to bring important situations to my attention, but knows the appropriate time and place.

Someone who can be trusted to handle things on their own- backstage, in another rehearsal room, if something comes up and I'm not there.

Someone who wants the responsibility of being an ASM, and doesn't shirk from any duties I assign them. Different shows have different needs, and an ASM who complains or is unhappy about given tasks is not someone I want on the team.

Someone I get along with, whose company I enjoy, and who I can stand to be around all day long. A good sense of humor is essential.

Someone who takes responsibility for their mistakes. Mistakes happen, I make them too, but I don't like to have an assistant who tries to push the blame off on someone else. I have a lot more respect for someone who can own up to mistakes, and move right on to fixing them.

The most important factor for me in taking any SM job is that I want to like the people I work with. The theatres that I want to go back to are the ones where I enjoy working with the theatre staff, in general. So, people who share my work ethic, have good communication and a similar manner to approaching a production, as well as a compatible manner of dealing with problems and challenges, are people I want to work with again, and I think those things count double for someone I work with as closely as an ASM.

844

Stage Management: Plays & Musicals / Re: Harmful line-throughs?

« on: Jun 19, 2011, 02:48 pm »

I will fully admit that my weakest facet as a SM is the ability to put my foot down, so I'd be interested to get other SM's take on this and a course of action.  It might be too late to fix the damage for this show, but it's something I'd like to know how to handle in the future.

In terms of prevention for future shows- I like to check in with the actors following each performance when I'm reminding them about the next call. It gives me a chance to check in with them about how the show went, it gives them an opportunity to tell me about anything that may have happened during the show that I'm not aware of or need to do something about, and it's the perfect opportunity to say something like, "I noticed that the lines were off in the ______ scene- can you take a look at that? There was a lot of ad-libbing tonight." Giving them daily feedback can help keep things on track, and keeps you involved in the process.

845

Tools of the Trade / Re: iPads

« on: Jun 19, 2011, 01:21 pm »

I have an iPad, but rarely use it for SM work. I really prefer to use a laptop for creating forms- the iPad is great for checking email and taking notes, but beyond that I haven't used it much for work purposes. Though, looking at some of the apps mentioned, I may have to try some out for my next show... Thanks for the suggestions, all.

846

Tools of the Trade / Re: Cleaning out an Office - what to do with all that STUFF?!

« on: Jun 04, 2011, 07:49 pm »

I use brads and the sharpy the name of the script along the side = no expense, no muss no fuss

Nice! I like this simplicity.

847

Tools of the Trade / Re: Cleaning out an Office - what to do with all that STUFF?!

« on: Jun 04, 2011, 02:08 pm »

Something to consider if you're looking at keeping old prompt books- you could have them spiral-bound. That way, you can re-use the binders for another project and the books take up less space. It's fairly inexpensive to get them bound like that- usually just a few bucks at kinko's or office depot. I don't really keep paper copies of prompt books, but when I do have anything that I want to hang onto, I put it in manila envelopes- I find that the binder is really what takes up most of the space. If the theatre wants to keep your book and they won't pay for the binder, I would put the paperwork into envelopes and give it to them. I have a heavier-duty binder that has lasted me for 2 or 3 years- I never buy new ones.

848

The Green Room / Re: What would you do, with a grant for SMing...

« on: May 29, 2011, 10:33 pm »

I would love to learn more about working with automation- with a grant like that, I would find a class or some other way to learn about automation. I'd also like to take an Italian language class, and possibly a music theory class. Both things I have some knowledge of, but not nearly as much as I would like.

849

Students and Novice Stage Managers / Re: Graduate Placement

« on: May 22, 2011, 02:18 pm »

Apply for jobs- there are a lot of websites that post theatrical job listings. An internship or apprenticeship can be a great way to get experience and make contacts. You can send out resumes and cover letters to theatres in your area- you never know, someone could be hiring.

For the most part, I think that it's a matter of timing- being in the right place or speaking to the right person at the right time. You can increase your odds by really getting your name out there and making it easy for someone to find you. What G.Miciak said is true- I get most of my work from someone I know, rather then just sending resumes, but it's definitely worth the effort to put your info out there for people who are hiring.

Look into local resources- is there a website that is specific to your region that posts theatrical jobs? Is there a directory of theatres that you can send resumes to? Is there a "cattle call" for technicians that you can attend? Find ways that you can actively pursue employment- it's not going to fall in your lap.

I highly recommend the internship route. It's a way to get your feet wet and make contacts at the same time, as well as gain experience and build your resume.

850

Employment / Re: ARTICLE: WHERE WILL YOU BE IN FIVE YEARS

« on: May 10, 2011, 11:51 am »

I like this article- I started making a "five year plan" last year, and when it came time to start looking for jobs for this season, I was really pleased at how much the act of writing down the plan helped me shape my season. Much more so than in recent years, I felt like I was working towards a specific goal, rather than just filling my calendar and making sure I can pay rent.

From the article: "You have to clarify for yourself what you aspire to do with your career before you can communicate it confidently to others." Writing down what was important to me in a job and where I wanted to be in the future clarified for me what I wanted, in the short term and the long term. I don't feel tied down to this document- it's something that is going to change every year. But it was something that I wish I had done a few years ago. I think I would have made better career choices as a young stage manager if I had done this.

I made a template that works for me- it has goals/steps that I want to accomplish for the next 3-6 months, 6-12 months, and beyond 12 months. It has longer-term (five year) goals, skills I want to develop, qualities that I value in a workplace, and personal goals.

Writing this all down really helped me realize what I wanted, and allowed me to take more concrete steps towards getting there.

851

Self-Promotion / Re: Voyage de la Vie

« on: May 10, 2011, 11:23 am »

Congrats- what a fantastic new opportunity! Good luck with the new position, and let us know how it goes. I'd be really interested in hearing about the differences between the US and British structure for the SM team.

852

The Green Room / Re: Achieving a Professional Understanding

« on: May 07, 2011, 12:10 am »

I have a lot of friends who are actors- I almost never work with any of them. I also consider a lot of the actors that I do work with to be friends, but more "colleague-type friends". For me, one of the things I look forward to as a stage manager is getting to work with people I've worked with before and whose company I enjoy. I treat them just the same as anyone else, and I've never had any real issues with having a friend in one of my shows.

It's different in college or high school- you spend a lot more time with your peers, and inevitably your friends will be in your show. The best advice that I can think of for a situation like that is that you teach people how to treat you. Act professionally and expect professionalism from everyone in your cast (friend or no). Be clear about your expectations, and hold people to the standard you set.

853

Employment / Re: Websites

« on: May 05, 2011, 07:58 pm »

Cedes- sent you a PM.

Rpicket6- sent you a PM.

854

Stage Management: Plays & Musicals / Re: FORMS: shows with lots of props

« on: Apr 29, 2011, 01:21 am »

Less to do with running the show, but a suggestion for rehearsals- number the props. That way, when you are referring to a particular prop in rehearsal reports, it eliminates confusion about which prop you're referring to- if there are 15 chairs in the show, it makes it easy to say which chair needs to be painted. If you cut a prop, don't reassign the number- makes it easy to restore it if needed.

855

The Hardline / Re: AEA ASM?

« on: Apr 27, 2011, 02:00 pm »

But the problem with all of that language is the word "OR."  The Stage Manager OR the Assistant Stage Manager.

I've always interpreted that to mean that the SM or the ASM must always be present in rehearsal- meaning that there could not be a rehearsal with no stage manager of any kind present. So the SM could step out to speak with the production manager, or the ASM could go make photocopies for a few minutes- as long as the other was in the room. I've never interpreted this rule to mean that you had to have two people on contract, but only one had to attend rehearsals and performances.

Does that mean that although Equity requires an AEA ASM on musicals and with casts over 10, that the ASM really doesn't have to attend rehearsals or do any stage management work, as long as the Stage Manager does? 

I don't think that's true. In my opinion, the word "or" in this case means that it has to be one or the other in the room at any given point in time- not always both, but never neither. Having an AEA ASM in name only is, in my opinion, a violation of the contract.

Having the word "or" also allows for a split rehearsal- the SM in one room working on a scene with the director, and the ASM in another room with the choreographer/fight choreographer/etc.