Messages

91

Stage Management: Plays & Musicals / Re: Stop The Show!

« on: Oct 30, 2006, 10:43 am »

Wasn't me (God I wish I had this job but) a friend of mine plays Mickey in Fantasmic! in DisneyWorld she was telling me of a time they had to do what they call an E-Stop.  Apparently in the beginning Mickey appears at the top of the set, he does this by riding a lift, which moves pretty darn fast.  Apparently the girl (not my friend) playing Mickey had her knees locked (a no-no) and when she got up to the top the jolt cause them to lock and not release and "Mickey" fell backward, hurting himself in the process. 

The SM E-Stopped the show which brings the house lights to full, the work lights to full, kills the electricity to the lighting grid, plays a pre-recorded "Technical Difficulties" message, and de-energizes all pyro.  The problems were 1) The actress playing Mickey needed medical attention, and because they were afraid she had a head injury they didn't want to move her.  2) The pyro needs to be unloaded before it can be re-energized for obvious safety reasons.  So the SM made the call to down the show.  The audience was informed of the cancellation, bringing boos from the audience (welcome to Disneyworld, the happiest place on earth) and demands for refunds.  Which makes me wonder if they would have rather had their kids watch paramedics work on Mickey Mouse, it's amazing how people forget there are real live people in those suits.   She was out of commission for a long time with dislocations in her knees and a concussion. 

92

SMNetwork Archives / Re: Theatre Logic

« on: Oct 27, 2006, 09:31 am »

I saw this on a T-Shirt and then promplty forgot it.  I've been searching around for it for a long time!  Thanks!!!

93

Tools of the Trade / Re: Two-way radios

« on: Oct 27, 2006, 09:29 am »

Yea, all the time.  I can get the sensitivity right, its really just a comfort level thing for me.  I like knowing exactly what I said is going over the air when I want it.  All our calls are over headset or visuals (points), we don't have a cue light system.  I have switched over to VOX during particularly tricky sections, but my rule is PTT whenever possible.

Our headsets have PTT on the wire so it's not as difficult as taking your hand down to your waist.   

94

SMNetwork Archives / Re: Powered Glass

« on: Oct 26, 2006, 08:36 am »

Ok, now I understand.  Thanks!

95

Tools of the Trade / Re: Two-way radios

« on: Oct 25, 2006, 10:32 am »

Yep we have the Motorola CLS's and they've worked perfectly.  We had a few techs that were too used to the clearcoms and so got frustrated by the beep, once we shut that off, they relented.

Am I the only person in the world that shuts off VOX?  I guess it comes from talking on CB's and being in the fireservice but I feel more comfortable hitting the button.

96

SMNetwork Archives / Re: Powered Glass

« on: Oct 25, 2006, 10:19 am »

I'm confused as to how that allows you to see the deck better in the dark?

97

SMNetwork Archives / Re: Attendance Software

« on: Oct 23, 2006, 01:25 pm »

Just downloaded the trial version  I'll give it a shot. 

98

Tools of the Trade / Re: Condom reference??

« on: Oct 09, 2006, 04:14 pm »

Never have I used more Condoms on mic packs then when we did Singin' in the Rain.  We actually rigged up a great little pack with wet suit material for the guy playing the lead as he spent more time in the water than anyone.   

Then at final dress the director decided that the ENTIRE CAST should come out for curtain calls under the rain effect.   Which meant that the 11 other mics we had rented were now going to be exposed and we didn't have enough time to create 11 more pack holders.   So, out came the condoms from my kit... yea I got a look or two on that. 

99

Stage Management: Plays & Musicals / Re: Musicals with lots of dancing.

« on: Oct 09, 2006, 04:03 pm »

I SM'd a traveling choir who danced for like 10 years. 

I've learned that the only one who can just pick up and read a choreographers notes and know exactly what they meant is... well no one... too many times the choreographers I've worked with say.. "what the hell did I write that for". For them dance notes really just served as a reminder to the DC's when they needed to re-teach and settled some bets from time to time too. X's and arrows worked the best for me, with “chasse'” written in next to the arrow or even "spinny twirly thing" - to which the Dance Captain is normally able to go... right this thing... and then do it.

I'd say also pay attention to the choreographer.  If they repeat the same combination of words while they are teaching it, make sure to note that.  The majority of questions I used to get were “Did the grapevine come after the hitch kick or the turn turn snap?”   We had a section where the dancers would put their hands on their heart and then over their heads then down like 5 times fast that became "I pledge allegiance up and down, I pledge allegiance up and down..."  because that was the phrase the choreographer yelled while they were learning it to remind them...

Also I few questions I got a lot were… “How many people were in the front row?  “Who’s next to so and so?” “Were we in a triangle or a wedge?” (still trying to figure out the difference on that one) so the formations were important to note, often even more so then the steps, because most dancers know the steps alot better then who they were standing next to.

All in all, as always with our world... the right way is the way you understand...

100

Students and Novice Stage Managers / Re: hey, need a bit of help

« on: Oct 05, 2006, 11:38 am »

Another great book is "The Backstage Guide to Stage Management"  also available at your library or Barnes and Noble.  I'd acutally suggest taking a look at both. 

101

Stage Management: Plays & Musicals / Re: How to keep kids *quietly* busy at rehearsal when they're not needed onstage?

« on: Oct 04, 2006, 03:10 pm »

I work with kids in shows lot, and what you need to find is an older responsible kid who can serve as a leader.  The younger kids will follow the actions of an older kid every time, and the older kid usually wants to please the adults will fall into the job.  Keep in mind though they are still a kid and will have "kid moments" as well.

The other thing is if you have an ASM that could be trusted with the kid wrangling job, do that.   I've found with the little ones, like 4th grade or lower... its a good idea to get them into the habit of putting their index finger up to their lips in the universal shhh sign while they are backstage.  They do it in elementary schools in the hallway and the kids are conditioned to staying quiet. 

If you see a kid doing the right thing make sure to thank them in public in front of the other kids... it's "positive reinforcement" and the other kids will try and earn your praise next time.

As a total last resort and only if you have an ASM / Parent / or kid helper keeping tabs on the show,  I'd let them listen to Ipods, play game boy or other hand held games, with headphones... but that can lead to HUGE problems elsewhere. 

102

SMNetwork Archives / Re: Call Board Karma: Keep or drop?

« on: Oct 03, 2006, 11:06 am »

Says the person whose username includes the word "fuzzy".  Hee.

Smite her... Smite her... oh wait I'm just proving the whole argument... nevermind 

103

Stage Management: Plays & Musicals / Re: My Strings are Unstrung

« on: Sep 28, 2006, 11:15 am »

After sitting through that 30 page scene 3 I'd of quit too     J/K

That's pretty lame though, leaving a note with no signature at least have the guts you know resign face to face.  Lucky for them they had someone like you with connections and experience that could have stepped in if needed. 

104

Students and Novice Stage Managers / Re: ASMs vs SMs

« on: Sep 27, 2006, 04:13 pm »

Ahh ASM's...  They are like human swiss army knives... just make sure you're not trying to use a corkscrew to cut something... make sure you line up the persons strength with the job...

In other words match the job up to what they are good at.  For example a lot of the shows I do include kids I have one woman who is my ASM a lot and she's wonderful with kids.  She immediately becomes my "kid wrangler", during shows she works with the little ones makes sure they are where they need to be and they are quiet.  Not exactly the most orthodox way of using an ASM but when you look up and the 5 year old nails her entrance every night... something is going right.  If I took the same woman and asked her to write the blocking for the 5 year old, I might understand 2 or 3 pages of it.

Other than that I'd say at first whenever you realize you need to be in three places at once... use an ASM.   Prompting and line notes are a great place to use one.  If you have to call a load in, or coordinate a load in from three different places send and ASM with each crew to keep tabs on how they are progressing.

105

Students and Novice Stage Managers / Re: Book and Tabs

« on: Sep 27, 2006, 03:56 pm »

Heres my general layout, but I'll tweak here and there as the show requires.  Usually about 3 to four sets of 8 tabs each.

First Eight
Contact
Medical Crash Sheet
Schedules
Blocking Script Act 1 (scenes tabbed)
Blocking Script Act 2 (scenes tabbed)
Rehearsal Reports
Performance Reports

Second eight tabs (Calling Script)
Preshow
Act 1
Intermission
Act 2
Post Show
I leave two tabs incase the show is longer than 2 acts

Third Eight
Set
Lights
Sound
Flys
Costumes
Props
Grip
Automation


Etc Etc Etc.

I think the important thing is that there is no set way... just keep asking yourself "If I need to put my hands on _____ fast can I find it. "