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Messages - loebtmc

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841
one of the houses I work regularly has an amazing props master who covered cans of sparkling water or ginger ale, depending on whether it was poured/seen from house or not. Easy to build the label on a computer, I think she painted the cans black and glued the label onto them (we used newcastle beer as the model cuz the can is simple and easy)

break a leg!

842
The Green Room / Re: Trivia Tournament II: Electric Boogaloo
« on: Jul 06, 2010, 08:42 pm »
wish we cd request literature without stephen king...

843
Employment / Re: CAREER GROWTH: Taking control of your career
« on: Jul 05, 2010, 07:52 pm »
This is a great topic. There doesn't seem to be any rhyme nor reason for this kind of upward movement. Especially in an industry with no job security, one thing is for sure - developing relationships is the most important thing.

Some people seem to be really good at being in the right place to meet the right folks at the right time and work their way up the ladder to bigger and bigger contracts, some of us find we have a niche that we can't seem to leave, but that allows fairly constant work. One SM I know worked his way up by observing on every show he could, then staying in touch, another worked with the producers back when he was acting, another just knows how to work the schmooze and turns that into work again and again (common theme, yes, they are all men) - and yes, nowawdays this is an arena where college can be an asset because you meet and work and make an impression on folks who are working. And somethings you have no control over: with the last big turnover at our biggest local AEA house, we all know they hire young pretty women just out of school and straight young men - meaning all the folks w years of service no longer have jobs.

I am taking steps by observing every chance I get, asking intelligent questions, keeping my resume clean and making sure the folks I work with will want to refer me as well as work with me again, and sending my resume to any and every production house around. And hopefully, one of these will turn into work!

844
in addition to presetting/prepping as noted (which is great), you might want to talk to a magician - they prep stuff like this all the time and usually are quite helpful with stuff like this


845
The Green Room / Re: Summer projects
« on: Jun 25, 2010, 01:16 pm »
oh yeah - there were two up there - have a blast!

846
The Green Room / Re: Summer projects
« on: Jun 25, 2010, 12:44 am »
BLee - are you doing the Ojai summer theater? I LOVE that place - clean air, nice folks, great atmosphere - have a blast! and congrats!

847
The Green Room / Re: Tony Awards
« on: Jun 14, 2010, 12:19 pm »
Oh, we did enjoy - but knowing that the SM was prob going wacky when so many sound cues got dropped at the top, and then mislabelling the awardee....

and being prepped for 4 different endings based on who won Best Musical - Yikes! I can imagine the conversation on headset after that one...

it just seems to me that the Tony's always had less glitches than the other award shows since, well, live shows is what we do. But, for example, this year, sound problems have plagued every award show I've seen (granted, I don't see that many) so it makes me wonder what the heck is goin' on???

848
The Green Room / Re: Tony Awards
« on: Jun 14, 2010, 02:56 am »
we were commenting that this year the presenters were from TV/Film and some of the awards seemed to be on name value rather than performing skills - but the mistakes were legendary - posting the wrong winner while Ms Finnerman was talking, the sound glitches etc - YIKES - this used to be the smoothest running show with the cleanest speeches. What happened (she asked semi-rhetorically)

849
Pontificate, Pontificate.
Pontificate. Pontificate, Pontificate.
SHUT UP AND ACT!


850
We know you're clever.
We have a director
Please at least try his version of the play

You want line notes?
Here's one.
Learn your lines!

You don't need to tell me
your beats, your intentions, your choices
just do the damn blocking.

851
Quote
sometime the line note is "learn all lines . . . "

(OT) I recently had an actor upset because I didn't give him line notes - which I couldn't because the line note was basically, "learn your lines" - which he already knew cuz he commented on it daily....


852
sounds similar to either modern dance (which can be without music or to various sounds) or to circus work.

Granted I have not done much of those, but when I did, I counted on the dance-captain-equivalent for maintaining the movement and simply took notes on the blocking patterns  - gave myself specific abbrev for the dancers or "block R moves UC, block L moves DL" for large clusters, highlighting specifics where I might be able to use a move for cueing (is Sarah X DC for solo sequence, group catches/lifts Martine)


853
Employment / Re: Child Wrangling
« on: May 30, 2010, 06:22 pm »
wow - my sympathies!

is there a way to use sugar-free/diabetic cake, to save you some hassle and stress?

854
Many many times we have differences of artistic viewpoints from the director. As a stage manager, your choices are either 1) don't work for those folks or 2) ignore it and live with it. While our job is to be the pin between the artistic and technical teams, and while we will always be artists who maintain the director's vision during the run, it's not our vision. We don't get a vote.

855
a vastly oversimplified definition of the difference between an understudy and a replacement - an u/s stays as close as possible to the original performer's work (why the u/s needs to be a better actor, since he/she is figuring out the first team member's intention/objectives to play those along w blocking and patterns) - while a replacement starts w same blocking and basics but can make it his/her own, even (in some shows) including revisiting some blocking as long as none of the technical elements needs to change.

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