Messages

856

Students and Novice Stage Managers / broadway/off broadway and summer theatre

« on: Dec 14, 2005, 07:24 am »

Another thing I forgot to add, and I have seen it far too many times (and remember I am an Aussy, so it is a Uni degree, not college).

These are basic paraphrases of real interviews I gave last year.

Interview with Uni Grad.

MC: Why should you get the internship?
C1: I have a degree in Stage Management.
MC: Yes, so why should you get the internship?
C1: I already told you, I have a degree in Stage Management.
MC: So if I asked you to completely repatch LX for me, would you do it?
C1: Isn't that LX's job
MC: Now, if I was sick, and you were required to call the show, would you be confident in doing it?
C1: Yes, no question.
MC: Have you ever called a show before?
C1: We practiced it in Uni.

Interview with non Uni Grad.

MC: Why should you get the internship?
C2: I am dedicated, I have experiance on x,y,z, I am passionate about theatre, I work hard.
MC: If I asjed you to completely repatch LX for me, would you do it?
C2: Why wouldnt I?
MC: If I was ill and you were required to call the show, would you be confident in doing it?
C2: How well do I know the show? Have I attended the techs etc?
MC: Well, so yes, you attended techs, you were beside me on the prompt desk,
C2: THen yes.
MC: Have you ever called a show before.
C2: Not professionally, but I have done amdram shows.

Now, I am sure there are a number of Uni grads who are great, but there are soo many who are so sure their piece of paper means they are gods gift to the position. RUBBISH!!! That piece of paper indicates you have had some basic instruction pft. Candidate 2 got the position, she was great, I was really impressed with her. Candidate 1 was chosen by someone else for my next job, and I will never EVER work with her again. Because she had a degree, she assumed she knew more about stage management than me, and overruled a number of my decisions, one of which resulted in injury to a chorus member and she was sumarily dismissed.

So that whole "I have been/am going/am currently in College" thing, means NOTHING to me, except that you are one step up from someone with no idea, or who has only done one job before. RL experiance is the MOST valuable thing in this profession.

857

Students and Novice Stage Managers / Re: broadway/off broadway and summer theatre

« on: Dec 13, 2005, 02:31 am »

Does anyone know good sites to look for summer jobs/internships(paid)? Also is it possible to be involved in a broadway/off-broadway show being a college student if your resume can really sell you and if so could you get paid for doing what you did if it be production asst, asm, sm, light/sound ops etc etc.

thanks really any info is grately appreciated.

Firstly: You are MUCH better approaching companies personally, many do not advertise internships.

Second: Dont expect anything close to a decent pay - they are doing YOU a service by allowing you to intern. I have taken on interns, and often it means more work for me, rather than an easing of the work load. So paying them any more than (AU)$50 a week really impacts on the budget.

I have often (whilst worrking on a show) been handed a pile of applications for internships (the theatre would not 'employ' them, instead they were interned under me... papper work was a mess) and I have basically had to balance the books and see how much of my budget I could afford to put towards teaching an intern - $50 a week, over 3 months, is $600, when you have a $1200 budget for stage management, it is quite a dent.

Even if your resume can sell you, can you back it up? It is not impossible to be involved in a pro show whilst you are in college. My first pro show was at age 16, whilst I was still in high school. It takes a hell of a lot of dedication and balancing though. And of course you are paid.

However - Do not expect to get a job easily. There are many many many SM's out there with years of experiance who try and get into broadway, hell, if I was in the US, I would attempt to apply.

858

SMNetwork Archives / Re: Current holiday show

« on: Dec 11, 2005, 03:57 pm »

Without actually naming the show I work on - though let's just say it's got a lot of dancing and three very important words: "Live Nativity Onstage".  Yup, 3 camels, 5 sheep, and a donkey.  There's a reason it's the last scene of the show....

My parents breed alpacas, and we lived in a farming town - so when I had the joy of the local church wanting to do a large nativity at the local (rarely visited) coal creek village (a supposed tourist attraction, see the stage here - the image second from the bottom, the paddoc, that was our theatre), we used coal creeks horse, 5 alpacas and 3 llamas. It was hilarious.

Well, you never know quite what animals will decide to do....
....
And sometimes the animal handlers would give out awards...

You had animal handlers! Luxury! I had the honor... no, the privielage, of doing that myself, as well as 99.932% of the other jobs - I think I did almost everything short of playing baby jesus - and not for lack of trying.  I even played Joseph (food poisoning) and Mary (God knows what happened to her). And whilst I do not mind playing male roles when absolutely necessary, after all, I am one, I did not appreciate the fact that I was told I made a great Mary (and I do think I did a good job), it's just the principal of the thing.... It also happened to be the one night that ALL my friends were in the audience, as well as my principal, english teacher and maths teacher.

859

Stage Management: Plays & Musicals / Show starting next quarter/simester

« on: Dec 11, 2005, 03:28 pm »

Generally before any show starts rehearsals, I like to have all my prelim bookwork done.

So assemble your prompt copy.

Then comes the fun of extractions. Take a piece of paper out and rule 4 cols. headed PAGE, LINE, TYPE, DESCRIPTION. Then go through the script and mark down any props that are mentioned, any sounds that are implied or requested, anything non-verbal or blocking related. Many are implied - props are usually glaringly obvious - they are usually mentioned by name, lighting, often mentions of the state of the sky (overcast, full moon), or streetlights etc, sounds are sometimes rather subtle as well, and often the director does not want them. Then after I have done the whole script, I put each type on their own piece of paper (3 cols, PAGE, LINE, DESCRIPTION), keep one in my bible, email a copy of all of them to the director, and email one to each department. And be tacktful about it as some can see it as intrusion into their duties, but most really appreciate it.  Remember to include things like rail cues as well - people often forget them.

Assemble a welcoming kit. The welcoming kit should contain all the forms you need filled out, first rehearsal schedule, breakdown of what is to be finished and when it is to be finished by, show schedule, photo shoots etc. I also like to include a bit of history on the show, the directors artistical goals and impressions (to help the actors know what the director wants, (s)he will often verbalise this as well), history of the company and history of the venue (if it is a really old one). Then I put it all in an envelope (A4 in size, dont fold!). I used to distribute all the papers around the group in a take one pass them on fashion, but I find this takes far less time, and I am all for saving time.

Check your kit. I list everything I have before each show and submit it to the producer and negotiate with him so that the company reimburses me after the show for what has been removed. You will need pencils (en mass) for the first rehearsal.

This is one I have only done once before (my last show), and I quite liked it - do research on the period/environement, then make an 'inspiration zone' - basically, some large sheets of cardboard, stick on snippets of information (not too long) and photographs. The see if you can source some clothing etc (for free) and get some books on it (local libraries) - I was relatively lucky with the show I assembled this for, in that the rehearsal room was also a full time office for me and I slept there - part of the contract as the show was interstate and the place had a small room which took only moments to convert, so the actors often phoned me asking for access to the material late at night, or to come in and discuss the show with me (be careful not to step on the directors toes there) - they now have a thorough appreciation for the ammount of work an SM does.

I am, sad to say, not good with names, although I have the uncanny ability to totally disguise the fact. So I like to read and reread the audition form for an actor and get a face for the name. That way, come first rehearsal I can walk up to them and say hi using their name.

Being male, this one got me odd looks, but my first show as professional SM I was soo desperate to do well I even made muffins for everyone. They were damn good if I may say so myself, and I think appreciated - however I would not recomend it as the crumbs are a nightmare.

There are a million things you can do - many things however you shouldnt. Approaching crew is great if you need to source them, getting them to pencil it into their diary. Sending the crew all the papperwork when you have 3 months of rehearsals before they are needed - bad idea. I usually mail that stuff out a week before, as well as emailing them a production schedule during week 4 of rehearsals.

860

SMNetwork Archives / Emergency Forms

« on: Nov 16, 2005, 10:20 pm »

Is it illegal to ask, or is it illegal to require - I know over here that it is illegal to require someone to give a medical history, but it is not illegal to hand out a form asking if they could provide details.  If you hand out a form that is non-compulsary, the information they provide is then voluntarily given, instead of making it seem like an inquest into their medical background. The one thing you never do is get a medical form done at an audition, as it can then be considered medical screening and opens doors for law suits.

I would check with someone about whether you can distribute a form with something like this up the top:

"The contents of this form are completly confidential, and all information (with the exception of emergency contact) are entirely optional."

99% of people will be straight with you and list what you need to know, the other 1% are the people who dont hand the form back in becuase they forgot about it.

In many ways I find the limitations on medical checks quite irresponsible. There are certain things which need to be managed properly in certain events  - I had a cast member seriously injure their knee for example and he was unconcious - it turns out he was a haemophiliac. He did not clot. I was lucky that he had told me when we started rehearsals, and he told me how to properly deal with it if something should happen. I was prepaired, and when I rang 000 (aka 911 to you yanks ;-)) I could advise them as well and the ambulance came prepaired. If he had not told me, I would not have known, and he probably would have bled out (we could not get onto his emergancy contact until the next day) as they took him to hospital. I believe it is the employers responsibility to make sure that their workplace is safe to everyone, and that means asking the right questions - and it is the employees responsibility to provide the answers. All under a strict banner of confidentiality.

861

SMNetwork Archives / sore throat tech

« on: Nov 15, 2005, 03:58 am »

When it all gets too much, there is a lovely cocktail I have - Ibbuprofin, cold and flu meds, throat medicine, diazapam, caffine and of course more caffine (not all at once of course, but stagered throughout the day). It is a patch-up thing only. I am one of those people who is not happy unless they have an overbooked schedule, so I often end up needing my cocktail of drugs for a few weeks and then crashing for a few days after it. It is most definatly not recomended. Last week for example, I was calling a morning panto, a matine musical, and a night time caberet. For an entire week. Get up at 4am to get to the panto at 5:30, ready for an 8am curtain. Close at 10am, get to the next theatre by 11am ready for a 1pm curtain, close at 3, get to the caberet by 5pm ready for a 7pm show, which closed at 11pm, eat dinner at 12am (provided at the caberet) get home at 1am and sleep till 4.

The only thing that kept me alive was the caffine I carried arround. It was probably the most fun I have had in a while. The progressive bumpouts were a bit rough though. I crashed for two days straight after it. No shows till next week and then I start rehearsals (4 weeks) for a show that will bump in christmas eve (and as mentioned in another thread, I will probably finish the bumpin on christmas day, alone).

The things we do for the jobs we live.

862

Stage Management: Plays & Musicals / training assistant

« on: Nov 15, 2005, 03:46 am »

PERSONALLY - An ASM is not a person in training. Sure, an ASM may WANT to become a SM, but they should not be treated as an SM in training. That is an INTERN.

An ASM - TYPICALLY - is a back stage hand, in charge of props, finds working props, attends to the photocopying if you dont have time and may often be required to complete part (or all) of the backstage pre-show checklist.

If I have an ASM who comes to me as "In Training", I complain (LOUDLY) to management.

In a full length, moderatly sized, show, an ASM who needs their hand held, even part of the time, is a waste of space. I dont mind an intern, hell I love having an intern (not only are they great gophers, they are also genuinly interested in what you teach them, and they catch things you may miss... I love interns), but if the show requires an ASM, an intern will NOT replace them. An intern you have to spend time going back over everything they do independantly until you are sure you are right - the same with anyone in training. ASM's however, you should be able to give them a list of working props required by next week and in a week later find a box on your desk, or you should be able to hand them a backstage checklist and find it completed every night to perfection. That is an ASM. An ASSITANT, NOT a STUDENT.

Some places may not call them intern SM's (I do though), but they should most definately NOT be called an ASM.

863

Stage Management: Plays & Musicals / Leaving the booth??!!?! (part 1)

« on: Nov 15, 2005, 03:36 am »

i make sure i have ppl backstage capable of handling those emergencies while i'm in the booth... once the lights and music start the top of the show and the second act i'm in the booth, connected to backstage with headsets and trustworthy individuals. if i had an asm capable of handling the cues, maybe... but i haven't had one yet.

That is where things get hard. You see I would LOVE to be able to pick and choose WHO I have as an ASM, who I have backstage etc. I have about 9 or 10 people who I have worked with quite often (1-2 times a year maybe, I usually do 8-15 shows a year in some capactiy(I often take over after the rehearsal period has ended, or I will be running 3 shows at once, designing lighting for 1, sound for another and SMing the third)) and I would love to give these 9 or 10 people jobs on all of my shows. It does not happen though. The producer or some other entity of hiring hands me a list of people and says "These are your crew." I look at the list and see names that I do not like, I grin and I bare it. SM's rarely have the ability to pick and choose who they work with.

I have also learnt never to lock myself down into a certain routine. I could say "No, the show is on, I don't leave the booth, you handle it", but it would often be irresponsible. For example - the law states that there must be a trained first aid person on staff - and my standard contract includes a premium should they employ me in a first aid cappacity as well as SM (which they usually do). That means they will not employ anyone else as a first aid officer. The law also states that for anything more major than a papercut or a twisted ankle, I HAVE to deal with it. I also have to sign off on incident reports etc etc etc - that way if anything goes wrong, it can be proven IN A COURT OF LAW that any procedures were carried out by someone certified as competant (me). Now sure, if someone (for instance) feinted, I could say, over cans, "keep them cool, turn their head to one side, ensure they are breathing..." etc. but I could (and would) be found negligent should I do so and a case was to be made out of it. That is one of a MILLION things that may occur which require my presence.

I worked in a theatre that my presence (specifically) was required at the side of the stage when central lift was in use to operate the deadmans lever. Now I could have pawned that off on someone else, quite easily, after all it was an easy job, but should something happen....

It is all well and good to say that you will sit in the booth for the entire show, but when things go hap-hazard, are you willing to face the consequences? The guy back stage will not wear it, that is for sure.

864

Stage Management: Plays & Musicals / Workshoping a show...

« on: Nov 13, 2005, 02:44 pm »

It is when you start off with either a rough concept (they are a bitch) or a rough script and you basically sit down and re-do/polish it together (actors & director & writer), OR it is a term used when the writer has handed in a rough script of a new play, and they workshop it themselves and send you post-it notes filled with changes that you need a microscope to read.

basically it is hell on earth, although some of us SM's (myself included) actually enjoy the torture of workshopping.

865

Stage Management: Plays & Musicals / Workshoping a show...

« on: Nov 12, 2005, 06:39 am »

welcome to HELL.

Tip #1. Number lines and pages
Tip #2. Keep the line numbers the same.
Tip #3. Create sheets which have line additions and removals, each dated
Tip #4. Distribute said sheets BEFORE the next session
Tip #5. Buy pencils en bulk (actors can NEVER remember their own pencil)
Tip #7. Buy your own coffee company - you will spend every minute after rehearsals performing maintenance.


As a general rule, when going through a long workshoping period (weeks), I will usually have my prompt book arranged as follows:

script&blocking for page 1
Plastic pocket
script&blocking for page 2
Plastic pocket

etc. So there is a pocket after each page. Why? you may ask. Each page of my script I have the revision date and number. When I do another revision (say every 3rd day, the rest of the time it is penned in) I take out the script and blocking pages, staple them together and place them in the plastic pocket.

You may want a dictaphone (micro casset recorder) as they can often be extreamly fast.

Basically, when workshopping, keep EVERYTHING, because 3 rehearsals down the track, someone will say "3 days ago we had something really good on page 5 line 10.12" and you need to be able to pull it out and say 'It was...."

(as you may have gathered, after you number the orrigional script, you do not change the numbering, if you add a page, it becomes page Xa, if you add a line, it becomes X.i.

This is what you may end up with:

10 blah
11 blah blah
11.1 blah blah
11.2 blah blah
11.4 blah blah
11.9 blah blah
15 blah blah
13 blah blah
17 blah blah

866

The Green Room / SMs in media?

« on: Nov 09, 2005, 02:12 pm »

and could not call a show if her hair was on fire, and she did not do what is expected from the average SM.

Was she the PSM or the Deputy SM?  From what I understand (correct me if I'm wrong those who have worked in UK) Brittish PSMs do not call the show.  Thats what the DSM does...  I worked with a Brittish designer this summer who was telling me about it.  Sounds like a great system.  Of course, I'd rather call so I'd want to be the DSM.  

It was a small show, and small shows usually do not split the SM role into it's two parts. That is a bit more common in large operas or musicals.

867

The Green Room / SMs in media?

« on: Nov 09, 2005, 06:45 am »

There was a show from the BBC that aired over here in AU that was following the putting on of a theatrical performance in an old theatre. Unfortunatly, the focus was on the actors, and although the SM did appear for short 5 minute stints every so often, the SM was crap and could not call a show if her hair was on fire, and she did not do what is expected from the average SM.

On the whole, dissapointing.

868

SMNetwork Archives / kit

« on: Nov 07, 2005, 11:43 pm »

I am so excited - the producer for the show I just signed up to do (Les Mis) has given me a SM Kit Maintenance budget of AU$150, as well as a SM budget of AU$800!!! Sure beats the usual AU$50 budget I have for the entire SM team. I will be able to actually BUY some working props instead of building my own from cardboard and stickytape, buy a range of spike tapes and lots of gaffer and... Oh god it will be nice.

869

Tools of the Trade / Creating a prompt book in word...using comments for cues

« on: Nov 07, 2005, 04:44 pm »

I have never used a computer to call from - namely because I have never had scripts already computerised and dont usually have the time to type it up and experiment, but I am thinking about it for my next show.

I cary my laptop with me everywhere anyway, it is more a matter of actually working out my own system - I have all the programs, I have just not made my own method yet.

The way things are these days, I carry arround half an office with me. At uni, when I am sming a show there, I can be walking arround campus and an actor will approach me and start talking show - out with the prompt copy, note book and a pen. Then I leave to go and do some pro work. Walk in the door "I did not get a copy of xxxxx" or "I left notes yyyy at home" out with the laptop, into the car to grab the printer. Print it off. I need a cart that follows me arround with my laptop, all of my prompt books, note pads, paper, pens, pencils, staplers the lot... or a personal assistant to carry them all for me. Then there are the times when I am shopping and I run into the local amdram 'star' or director. My trolley turns into a virtual office.... grr. I wish, just once, that people listened to me when I say at the start of rehearsal period "I make myself available half an hour before first call, until half an hour after the last call, and any gaps in between, feel free to see me then. If that is not convienient, call me or email me and we will arrange a time that suits you". Serves me right for burning the candle at both ends and the middle. I suppose that is why I am loath to have a computerised copy - it would waste even more time booting up the computer every time I am stopped by a member of one of my shows outside of hours (on average, 3 to 4 times a day)

870

SMNetwork Archives / Filemaker?

« on: Nov 07, 2005, 03:56 pm »

I use adobe PDF forms for a lot of the forms the cast has to send in (like medical) as they open almost anywhere, and print out really nicely. I also use them at auditions to fill in all the auditionee details (or for an ASM to fill it in). One of my fav. directors likes to see a headshot taken right then and there before she auditions them (She is excentric, and I love it!). It makes the whole process more complex, but infinatly more fun for me to design. I dont have a license for filemaker, but I have been meaning to look into it as it is a nice program to use.