91
The Green Room / Re: Professional Ethics: Hearing about a job
« on: Jun 15, 2015, 11:05 am »
Hypothetically . . . yes, you heard it from the SM.
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92
The Green Room / Professional Ethics: Hearing about a job
« on: Jun 14, 2015, 02:47 pm »
So, let's say you are working on a show with another stage manager, and you hear they are applying for a job with a SM you have a connection with.
And you are interested in applying . . .
Would you go ahead and submit your resume? Would you tell the SM you heard it from? Would you ask if you could apply? Would you do it on the sly?
Thoughts?
And you are interested in applying . . .
Would you go ahead and submit your resume? Would you tell the SM you heard it from? Would you ask if you could apply? Would you do it on the sly?
Thoughts?
93
The Green Room / Professional Ethics: Departing Early from a Show
« on: Jun 12, 2015, 05:33 pm »
Okay, this is an interesting topic . . .
Let's say, you are freelancing, and you have book a show, Show B let's call it, but it's two months away.
You then interview for Show A, but it runs past the start date of Show B. And the contract allows you an out that you would be able to give notice legally and depart from Show A to go on to show B.
When do you bring this up?
During the interview?
After an offer is made?
After you sign the contract?
Only when the notice is due?
Had this come up in my life, I am attached to a show, in this case Show B, that keeps changing dates, but currently is holding a place on my calendar . . . went in for an interview with a GM for a show that was clear of those dates, but got asked about my interest in another show, that did conflict.
I have very strong feelings about this but thought I would hold out for a bit . . .
After you sign the contract?
Let's say, you are freelancing, and you have book a show, Show B let's call it, but it's two months away.
You then interview for Show A, but it runs past the start date of Show B. And the contract allows you an out that you would be able to give notice legally and depart from Show A to go on to show B.
When do you bring this up?
During the interview?
After an offer is made?
After you sign the contract?
Only when the notice is due?
Had this come up in my life, I am attached to a show, in this case Show B, that keeps changing dates, but currently is holding a place on my calendar . . . went in for an interview with a GM for a show that was clear of those dates, but got asked about my interest in another show, that did conflict.
I have very strong feelings about this but thought I would hold out for a bit . . .
After you sign the contract?
94
The Green Room / Re: live weapons on stage!
« on: Jun 07, 2015, 03:58 pm »
remember, a chair can be dangerous . . . a food prop can choke an actor. theater is a dangerous sport, and no short cuts should ever be taken. sad.
95
Students and Novice Stage Managers / Re: Balancing humor and seriousness as a university stage manager
« on: Jun 03, 2015, 07:44 pm »
It's all about the management style that fits you well - and yes, you always need to adapt to the surroundings. Ironically, I find the most serious shows - I have found my sense of humor to be most useful - it's sort of dreadful to mucking about in drama, death and destruction - so the well place light hearted comment can go a long way. It is also depends on the director.
You have to feel comfortable in your management style - can the fun loving, joke cracking SM, also turn around and reprimand a cast member for being late . . . and, as you further down your career, will they trust a multi-million show to a comedian . . . ? There you go.
It's a very, very fine line . . .
You have to feel comfortable in your management style - can the fun loving, joke cracking SM, also turn around and reprimand a cast member for being late . . . and, as you further down your career, will they trust a multi-million show to a comedian . . . ? There you go.
It's a very, very fine line . . .
96
Stage Management: Plays & Musicals / Re: PEOPLE: Actors who direct....
« on: Jun 01, 2015, 02:36 pm »
It sort of depends on your style of stage management. I feel VERY strongly that a good SM can adapt to any style of direction, and if this is the style the direction has chosen to let the show form . . . then so be it. I have worked with directors who crave structure and some who despise it . . . and both have worked for them. Who I am to tell them how to direct their show. They are ultimately responsible for it.
Now, if decisions are being made that affect other departments, then you need to have some sort of meeting saying, we need decisions about these items by these dates for this reasons . . . we need to do a run of the show on these dates, for these reasons . . . and then push a director in the right direction so the production can go on. If you feel like you are not going a have a complete show done in time to tech (or as complete as a show can be - show change a lot during tech) . . . then you should express you concerns to them directly.
If the director is allowing actors to make decisions, that is not necessarily a bad "choice". I worked with a very good director that spent most of rehearsal just playing around, talking to the cast, telling stories . . . but in reality, he was getting to know the cast, their views on the piece, their sense of humor - work was getting down, but in a very odd and passive way, and then, like clockwork, he jumped in and was able to direct the piece with precision because he knew how to communicate with the cast, and the cast had ownership of the piece in a way . . . that came from they playing with the piece . . . and exploring in unconventional ways.
Lack of vision is hard, but with hard deadlines, the director will have to make decisions, and the vision will come together. Directors LOATHE making decisions, because once they say they want A, it rules out all the other letters of the alphabet. Once they choose Blue, it can't be anything else in the spectrum. Choices in some way seems very counter creative. But in some ways, it does open freedom in other areas. Some directors hate make decisions, so they make it part of their creative solution. Don't want to make up your mind about blocking prior to rehearsal, then go with an abstract set, that allows different configurations that can be made up in the rehearsal room - you be creative right up to open night.
Being a nice guy is not always the best way to direct, but it's his way.
Now, doesn't help you . . . but it maybe one of those things you have to grin, beat and adapt.
Now, if decisions are being made that affect other departments, then you need to have some sort of meeting saying, we need decisions about these items by these dates for this reasons . . . we need to do a run of the show on these dates, for these reasons . . . and then push a director in the right direction so the production can go on. If you feel like you are not going a have a complete show done in time to tech (or as complete as a show can be - show change a lot during tech) . . . then you should express you concerns to them directly.
If the director is allowing actors to make decisions, that is not necessarily a bad "choice". I worked with a very good director that spent most of rehearsal just playing around, talking to the cast, telling stories . . . but in reality, he was getting to know the cast, their views on the piece, their sense of humor - work was getting down, but in a very odd and passive way, and then, like clockwork, he jumped in and was able to direct the piece with precision because he knew how to communicate with the cast, and the cast had ownership of the piece in a way . . . that came from they playing with the piece . . . and exploring in unconventional ways.
Lack of vision is hard, but with hard deadlines, the director will have to make decisions, and the vision will come together. Directors LOATHE making decisions, because once they say they want A, it rules out all the other letters of the alphabet. Once they choose Blue, it can't be anything else in the spectrum. Choices in some way seems very counter creative. But in some ways, it does open freedom in other areas. Some directors hate make decisions, so they make it part of their creative solution. Don't want to make up your mind about blocking prior to rehearsal, then go with an abstract set, that allows different configurations that can be made up in the rehearsal room - you be creative right up to open night.
Being a nice guy is not always the best way to direct, but it's his way.
Now, doesn't help you . . . but it maybe one of those things you have to grin, beat and adapt.
97
Students and Novice Stage Managers / Re: How to Take the Next Step
« on: May 24, 2015, 02:09 pm »
I think you might do well looking for an internship with a major regional theater in a large market (Chicago, Washington DC, NYC - although you stated you weren't interested in NYC). This would allow you to get a regional theater credit to your name, while soaking in connections and the theater scene in this city.
It might help you get focus, and if you feel like you need grad school to help give you a larger skill set, an internship may help you get in.
It might help you get focus, and if you feel like you need grad school to help give you a larger skill set, an internship may help you get in.
98
Uploaded Forms / Re: Props/Properties
« on: May 22, 2015, 06:03 pm »
Source could also mean where the prop was generated from
Script
Director Add
Designer Add
etc . . .
So, you can figure out where the prop idea came from
Script
Director Add
Designer Add
etc . . .
So, you can figure out where the prop idea came from
99
The Green Room / ARTICLE: The myth of multi-tasking
« on: May 20, 2015, 12:57 pm »
https://www.psychologytoday.com/blog/creativity-without-borders/201405/the-myth-multitasking
Now, there is a lot to be said about improving your ability to "Switch-Task", but there is always the plus of focusing on one thing at a time.
Now, there is a lot to be said about improving your ability to "Switch-Task", but there is always the plus of focusing on one thing at a time.
100
Tools of the Trade / Re: Ideas for a small burst bag of sequins
« on: May 20, 2015, 07:40 am »I've searched several terms and nothing is popping up useful, so here goes.
For one of our ballets, a world premiere, we need one of our dancers to make glittery dust fall from his hand. My thoughts went to blood packs, filled with silver sequins. The problem is the dancer wears a shirt with medium length sleeves, so I can't hide it in his cuff/around his wrist. I don't want to use real glitter for obvious reasons (plus it's a rented dance floor). I figured sequins would be easier to clean up and would reflect well in the spot light.
If I use a blood pack design, I have to figure out how to store it on the dancer (there is no set) and how does he get rid of the empty pack without making it noticeable?
This is the last piece before intermission, so we have 20 minutes to clean it up. The downside is, it's in the middle of the piece, so dancers will have to dance on it (or try to avoid it).
I welcome any and all thoughts - or better suggestions for what to do.
(And no, our company doesn't have a prop shop, so this does fall into my scope of work.)
The other option might be silver mylar confetti, it should fall relatively flat . . . sequins might have some dimension which may make it hard to dance on.
Still hiding it still a problem . . .
102
The Green Room / Re: The Trouble with Paperwork
« on: May 08, 2015, 11:46 pm »
LOL - don't get me wrong, I am fine with paperwork being used with permission - I was able to quickly track down how this piece of paperwork got into that persons hand and back in my inbox.
It happens.
I just think Paperwork is a poor indication of a stage manager skills, unless it is a unique piece of paperwork solving a specific issue . . . like, tracking for a show like "House" and "Garden", or something like that - where I could see some independent thinking.
But otherwise, any sort of paperwork submitted I toss out, since I don't know where it originated from. (And, anyone picking up a production book of my mine, if they were impressed by the paperwork, I would have to tile my hat to the team, since very few pieces of paperwork were created by me . . . usually contact sheet, daily call, calendar and sometimes scene by scene set up . . .)
It happens.
I just think Paperwork is a poor indication of a stage manager skills, unless it is a unique piece of paperwork solving a specific issue . . . like, tracking for a show like "House" and "Garden", or something like that - where I could see some independent thinking.
But otherwise, any sort of paperwork submitted I toss out, since I don't know where it originated from. (And, anyone picking up a production book of my mine, if they were impressed by the paperwork, I would have to tile my hat to the team, since very few pieces of paperwork were created by me . . . usually contact sheet, daily call, calendar and sometimes scene by scene set up . . .)
103
The Green Room / The Trouble with Paperwork
« on: May 07, 2015, 07:42 pm »
So, if people follow my posts, they know I have been burned in the past with paperwork being stolen by other stage managers (taken without permission, given to other stage managers, etc. . . ), that I have become ever so shy about sharing paperwork.
There is a couple reasons for this - the paperwork I use has been put together by my team, and by adding improvements when working with new team members. Also, stage managers are, like it or not, in competition with each other at some point.
Today, funny story, a very early career stage manager submitted a resume and some paperwork samples, I asked to see the word version of the PDF document he sent - and sure enough, my name was on the author page (I suspected as much). This is one of the reasons that when hiring someone asking for paperwork samples is sort of pointless. They probably got it from someone else, who got it from someone else.
There is a couple reasons for this - the paperwork I use has been put together by my team, and by adding improvements when working with new team members. Also, stage managers are, like it or not, in competition with each other at some point.
Today, funny story, a very early career stage manager submitted a resume and some paperwork samples, I asked to see the word version of the PDF document he sent - and sure enough, my name was on the author page (I suspected as much). This is one of the reasons that when hiring someone asking for paperwork samples is sort of pointless. They probably got it from someone else, who got it from someone else.
104
The Green Room / Re: Do you ever forget how?
« on: May 04, 2015, 06:52 pm »
like a drug you never get out of your system . . .
105
Stage Management: Plays & Musicals / Re: PMs responsibilities during a run
« on: May 02, 2015, 10:21 pm »
CM = Company Manager
GM = General Manager
GM = General Manager